i@hames 
“Wien fr 
a 


f ry EFOR: oa formal opening of the 
BD "ew wing of the Anderson Gal- 

__ leries, which takes place to-day, 

iy - See fo ie ; bike 

_ I was extended the courtesy of a pri- 


| Nate view of the handsome suite of! 
‘y rooms. They oceupy the full 
of the top or twelfth floor, so, 
lighting is of the best. The 
nt of exhibits was still in 
rogress, but already one could gain 
_ @& Impression of the brilliance and 
_ beauty which the opening exhibition, 
pt the Chapman sale will present. 
The late Colonel Henry Thomas 

an, civil war veteran, banker | 

TY, Was also well known as a 

eur of art. His pictures, por- 
bronzes and other art objects, 
of which have been exhibited in 


the Brooklyn Museum for fifteen Years, . 


Bre to be sold at auction. They are) 

_ mow on view in the Anderson Galleries 

Weta the sale, which begins on 

: Ee see Beet January 27. 

The pictures show a catholicity of 

| taste, which includes old as well as 

dern art, ee does not overlook 

mples of American painters. 

ing principle of selection. 

have been a preference for 

and tone, in which respect Col- 

: Chapman could link up his love 

_ ‘of pictures with 
_ porcelains. 


Landscape Is Admired, 


Cece tne the Americans t noted a 


{ 


ochre 


that of bronzes and/| 


b ti 


Scene has béen profoundly felt and 
rendered grandly. I should like to 
see this picture hanging beside Homer 
Martin’s “Westchester Hills.” I be- 
lieve they would find each other quite 
companionable. 

From a oup of subjects by Arthur 

B. Davies I will single out two. “The 
Place of the Mothers” involves a charm- 
ingly decorative composition of hogs 
and a sow with her litter, seen in rosy 
light and transfigured into beauty by 
the artist’s vision. Again, his imagi- | 
nation, playing this time upon fancy? 
48 well as light, is shown in the oat 
dren of Yesteryear,” a.lyric of deep- 
toned sentiment, athrob with the 
Sprightly tenderness of flowers and 
child-life. 
_ Colonel Chapman was one of the 
earliest Americans to admire the grave 
art of Georges Michel; and among sev- 
eral examples in this collection, the 
one numbered 630 is superiatively dig- 
nified. 


Another superb piece is “The Giant 
Willows,” by Corot; a shadowed fore- 
ground of sonorous color, seen against 
a trembling twilight sky: an orches- 
tration of violins with ‘cellos and 
basses, 


Rare Paintings Shown. 


Decamps somewhat rarely figures 


in American collections. There are six 
of his pictures here, one of which, 


“The Good Samaritan,” is an excep-~ 


tionally handsome example of this fine 
imaginative colorist, Still more of a 
rarity is “The Siesta,” by Honore 
Daumier; since he painted but few oil 
pictures, and they are eagerly sought 
after, For Daumier to-day is reearded 
ee nee Bs Ai ges significant. French 
| 6 nineteenth century, who 
oth Br hie Werk.and sto induemte ga. 


others has done so much to liberate 
modern art from the wrappages of 
convention. 

| Another artist to whom some modern 
|connoisseurs are giving an enhanced 
jreputation is the seventeenth century 
|Hollander, Jan’ Van Goyen. They place 
‘him above Hobbema, and even Ruis- 
‘daeél, recognizing the verified quality | 
lof his spiritualized imagination and his 
|jpower’ of expressing both the bigness 
jand the subtlety of what he felt by 
means as abstract as possible. In 
“Harvest Time” this collection contains, 
a very important example of the ar-' 
itist’s second period, when the shrill: 
notes of blue and red, which he in-' 
herited from his master, Hsaias van de | 
‘Velde, ‘had been subdued, his skies! 
lerew ,to be more luminous and the! 
brown tonality became tempered with | 


| gray. 


“Cupid” a Happier Example. 

By Reynolds is “The Nymph.andPip- 
‘ing Boy,” one of several pictures of the 
isame subject which he painted, It 
icontains passages of charm, for ex- 
lample, in the face and bosom of the! 
(girl, but her right leg lacks construc-’ 
'tion, and cleaning appéars to have re- 
jmoved the fiesh tones, leaving the 


ishadow obtrusive and grimy, For- 
tunately there is an altogether happier 
example in the “Cupid,” with its elfin 
lcharm of expression and authoritative 
brush work. 
| I shall conclude this discursive, pre- 
liminary review of the Chapman col- 
lection. with a reférence to “Madonna 
and Child,” by Sebastiano del Plombo, 
It is recorded of this artist that when 
he visited Rome, Michael Angelo fre- 
quently collaborated in his pictures, 
supplying at least suggestions for the 
jcomposition. In the design of this one, 
organized with such apparent ease and 
simplicity and vet with a decorative 


| 


mple and subtly felt" 
The piature | 
oschrome, yet 


of tone is full of 


feeling at once a 
it is possible to recognize the Mich- | 


aeslangelegque influence, 
is executed almost in mon 


\in itz gradations 


| 
? 


aise suSwestion, 


pman 


. 
~ 


eihomas Chal 


vy 


ection 


+ 


Colle 


— 
v 


Col. Henry 


CUPID 


0. 396. 


N 


ynolds 


7 Sir Joshua Re 


By 


oe PAP ecllection 


of the late 


With a few pieces of 
| Marble Sculpture and Vernis 


MM artin OG 


ed by the Executors, Mr. Heat E. Chapman * 
: as Mr. ‘Frederick A. Chapman, and 


To be sold on the 


Bemecons i Evenings of Monday, Tuesday, 
pend) Wednesday, January gap ed, and* 29; 1913 


On Public Exhibition from January 18th, at 


The Anderson Galleries 


METROPOLITAN ART ASSOCIATION 


Madison Avenue at Fortieth Street, New York 


CONDITIONS OF SALE 


1. All bids to be PER LoT as numbered in the Catalogue. 


2. The highest bidder to be the buyer; in all cases of disputed bids the 
lot shall be resold, but the Auctioneer will use his judgment as to the good faith 
of all claims and his decision shall be final. He also reserves the right to reject 
any fractional or nominal bid which, in his judgment, may delay or injuriously — 
affect the sale. 


3. Buyers to give their names and addresses and to make such cash pay- 
ments on account as may be required, in default of which, the lots purchased 
to be immediately resold. ; 


4. The lots to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and the remainder of the 
purchase money to be absolutely paid on or before delivery, in default of which, 
the Metropolitan Art Association will not be responsible if the lot or lots be 
lost, stolen, damaged or destroyed, but they will be left at the sole risk of the 
purchaser, and subject to storage charges. 


5. To prevent inaccuracy in delivery and inconvenience in the settlement 
of purchases, no lot will be delivered during the sale. 


6. All lots will be exposed for public exhibition in The Anderson Galleries 
before the date of sale, for examination by intending purchasers, and the Metro- 
politan Art Association will not be responsible for the correctness of the descrip- 
tion, authenticity, genuineness, or for any defect or fault in or concerning any 
lot, and makes no warranty whatever, but will sell each lot exactly as it is, 
WITHOUT RECOURSE. But upon receiving before the date of sale, expert opinion 
in writing that any lot is not as represented, the Metropolitan Art Association 
will use every effort to furnish proof to the contrary, and in default of such 
proof the lot will be sold subject to the declaration of the aforesaid expert, he 
being liable to the owner or owners thereof, for damage or injury occasioned 
by such declaration. 


7. Terms CasH. Upon failure to comply with the above conditions any 
sum deposited as part payment shall be forfeited, and all such lots as remain 
uncleared after twenty-four hours from the conclusion of the sale, will be resold 
by either private or public sale at such time as the Metropolitan Art Association 
shall determine, without further notice, and if any deficiency arises from such 
resale, it shall be made good by the defaulter at this sale together with all the 
expenses incurred thereby. This condition shall be without prejudice to the 
right of the Metropolitan Art Association to enforce the contract with the buyer, 
without such resale. 


The Metropolitan Art Association will afford every facility for the employ- 
ment of carriers and packers by the purchasers, but will not be responsible 
for any damage arising from the acts of such carriers and packers. 


Priced Copy of this Catalogue, $3.00. 


THE ANDERSON GALLERIES 


Metropolitan Art Association 
MADIsoN AVENUE AT FoRTIETH STREET, NEw YORK 


TELEPHONE 7990 BRYANT 


ORDER OF SALES 
The Sessions begin at 2:30 and 8:15 o'clock 


First Session, Monday Afternoon, January 27th . Lots 1-117 


Antique Glass, Chelsea, Dresden and Crown Derby Figures; Delft, 
Majolica and Hispano-Mauresque Vases; Sévres Garniture and Gobelin 
Tapestry; Modern Bronzes and Drawings. 


Second Session, Monday Evening, January 27th . Lots 118-194 


Paintings by European and American Painters. 


Third Session, Tuesday Afternoon, January 28th . Lots 195-336 


Ivory Miniatures, Oriental Pottery and Porcelain, Crystal Balls, Chinese 
Bronzes, Vernis Martin Furniture, and Marble Sculpture. 


Fourth Session, Tuesday Evening, January 28th . Lots 337-415 


Paintings by European and American Painters. 


Fifth Session, Wednesday Afternoon, January 29th. Lots 416-562 


Oriental Pottery and Porcelain. 


Sixth Session, Wednesday Evening, January 29th . Lots 563-638 


Paintings by European and American Painters. 


ARTISTS REPRESENTED 


Albani (Francesco)........... 188 
Apol (Louis F. H.).........-. 123 
Babcock (H.°S.)c stew ease 174 
Backhuysen (Ludolf)......... 569 
Barker (Thomas)...........- 571 
Barye (Louis) 5.20 -0ee eee 81 
Baudry (Paul Jacques)....... 157 
Berchem (Nicholaas).......-. 609 
Berckheyde (Gerrit).......... 143 


Blakelock (Ralph Albert) 173, 368 
Boilly cae Leopold)... ..95, 573 


Bonheur’ (l,) esas eas 59 
Boucher (Francois)........... 593 
Boulard.(A,) 23 scum eee ee 121 
Bull (Pauwell):.. ¢.c0eaeay 570 
Brouwer (Adriaen)........... 132 
Pas any The 

Y ounger Goce eee 168 


Bice: (Jan) [Called Velvet 
Brueghell ions oo os ores 568 


Cariani (Giovanni Busi)...... 194 
Carner(A:); 20: ste 90 
Chaplin (Charles J.).......... 108 
Clodionat ene ee 76, 77, 78 
Copley one Singleton)...... "181 
Corot]. B.C) ae 114, 175, 
179, 370, 627 
Courbet (Gustave)...... 176. 597 
Courtois (Jacques)...... 161, 574 
Couture (Thomas) sree oe 379 
Crayer (Gaspar de).......... 414 
Creifelds (Richard)........... 98 
Crome (John) [Called Old 
Crome] =r Ga eee 1, 393 
Crome gate Bernay)........ 167 
Cuyp (Acthert)....csics ee one 355 
Cuyp (Jacob Gerritsz)........ 634 
Daubigny( Charles Fran- 
COIS) Seated seer 109, 152, 596 
Daumier (Honore)........... 605 


Davies (Arthur B.). 130, 150, 154, 

160, 363, 367, 391, 612, 618 

Davis (Richard Barrett)...... 567 
Decamps (Alexandre Ga- 

briel) 4st ee 2 bas ise 


Delacroix (Eugene)..104, 147, 588 
Delaroche (Paul)........ 129, 140 


Diaz (NiV.)sene eee 139, ees 
584, 592, 603 

Doornik (F. V.)......... 357, 358 
Doughty (Thomas)........... 119 
Dreux (Alfred): ..... 05h eee 378 
Dughet (Gaspard)........... 636 
Dupré (Jules).......... 138, 149, 
372, 381, 586, 1503 

Eaton (Wyatt)si-. eee 186 
Erdtelt: (Alois) eee eee 192 
Etty (William)..... 137, 390, 595 
Fortuny (Mariano)...........101 
Francken (Ambrosius)........ 399 
Francken (Sebastian)......... 575 


Fratin (J.). .42, 46, 56, 57, 61, 71 
Frost (George). ..c..06:+s00e8 158 


Gainsborough (Thomas)...... 136 
Gamba ‘(V.) 33. ee 118 
Gardet (G.);. 3 2 eee 70, : 
Gelée (Claude).............. 616 


Gericault (Jean Leon Andre) 
135; 373, we 


Gessi (Francesco)............ 

Giordano (Luca)........ 164, 360 
Glover (John)........... ee LS 
Gouyn (Adelé)., 3 eee 120 
Guardi (Francesco)...... 170, 382 
Harper (J)... ee 565 
Haydon (Benjamin Robert)... .637 
Hicks €Thomas).:. cssaseenwien 128 
Hogarth (William)...... 359, 582 
Houdon. (J--A)i2.e.. see 51, 72 
Huet (Jean Baptiste).....106, 110 
Huysmans (Cornelis)..... 606, 620 


Inman (Henry)... ..124,° 365, 614 
Isabey (Eugene)....105, 383, 590 


Israels (Josef) 20a 111 
Jacquet (J. |.) 2.2 86 
Jefferson (Joseph)............ 193 


Jongkind (Johan Barthold)...374 


. na seit 


Kauffman (Angelica) [Attrib- 
ethan) fee sake us 408 


Kierings (J a CRP Ries 563 
_ King (Charles B.)............ 159 
Kneller (Sir Godfrey)......... 394 
Lambinet (Emile)............ 384 
Lambrechts (Jan Baptist). .... 361 


Lawrence (Sir Thomas). 405, 632 
L’Hermitte (Leon)... 107, 112, 116 


Linton (William)............. 189 
Luciani (Sebastiano)......... 626 
Manzoni (Pi)0is 52 <5 65 ces 53550 
Marilhat (Prosper)........... ae 
Mauve (Anton): 72.0... =. 
Mené (J. P.). .48, 50, 58, 63, 65, "4 

- Michel (Georges) are 178, aes. 
395, 587, 630 


Michetti (Francesco Paolo). 134 
Millet (Jean ee) 155, 163, 

2 385, 602 
Monticelli (Adolphe). . Te 585 
Morel (Jan Evert)........... 127 
Morland (George)... .94, 99, 102, 

177, 183, 345, 351, 600, 621, 633 


Morland (Henry Robert)..... 340 
Moyen (Francois Le) [Attrib- 
RICE ee rae Be oe vk  Ladce 8 615 
Neuville (Alphonse de).......100 
Nicol (Erskine).............. 375 


Pannini (Giovanni Paolo) 185, 406, 
410 


LACOSTE @ (oe Si ae 92 
Piglheim (Elimar Ulrich pe ae 
ra ctor ies) Sie esse ce ee 67 
Prud’hon (Pierre P.)......... 113 
de: ESS ere 165,1 
2 347, 352, 415, G7 
Raeburn (Sir Henry)......... 354 
Relief Picture on Leather..... 343 
Rembrandt (Attributed)..... 623 
Reynolds ae Joshua)... 396, 628 
Ribot (Theodule)....... 126, 578 
OPS a ge Pee er 579 
Romney (George)............ 622 
Roqueplan (Camille)......... 131 


Rosa (Salvator)..... 398, 411, 638 


Rousseau (Theodore)... 146, 180, 


386, 594 
Roybet (Ferdinand).......... 387 
Rumpf (Philipp)............. 342 
Ryckaert (David)............ 580 
Shayer (William)............. 184 
Sheahan (D, B.). 00.0.2 os 89 
Stevens (Alfred)............ 96 
mtorck (Abraham)... 0.5.00 ..; 581 
Stralser VAs). eye eS 84 
Stuart (Gilbert).......6. 00.00 -. 610 
Tischbein (Johann H.)........401 
ito (panti Ory ee ee: 187 
Troost (Cornelis)............. 388 


Troyon (Constant)..133, 145, 151, 
156, 366, 376, 400, 583, 589, 604 
Turner (J. M. W.) Be ea ae 629 


Unknown Painters.. .97, 144, 162, 
344, 348, 364, 397, 591, 607, 608 


Van Bloeman (Jan Frans) 


[Called Orizonti]........... 61 
Van Bloeman (Pieter)........ 349 
Van Dyck (Sir Anthony)..... 598 
Van Goyen (Jan)....... 142, 403 
Van Mascheren (Philip). 125, 356, 

572 
Van Mieris (Franz).......... 172 
Wan- Ney den inz St ie eee 45 
Van Ravesteyn (Jan)......... 377 


Van Zyl (Geraerd Pietersz). . . .402 
Vernet (Claude Joseph).. 191, 341, 
625 


Vernet (Horace)........ 103, 166 
Veronese (Bonifazio) [The 
Plea, | at Ce nesue ier 392 
Veronese (Paolo): o....0. 0.45 624 
Vivians (Qttavio), 055 0.8. 412 
Voet (Karel Borchaert).. 190, 404 
Mopler (Paul)tc.s O455 0 se 339 
Vollon (Antoine)........ 380, 564 
Py ACES) a eater aie ca Sai doves 409 
Wiggins (Carleton). .122, 337, 631 
Wilkie (Sir David)........... 346 
Wilson (Richard)o50..4.... 566 
Zuccarelli (Francesco)....... 407 
Zugel (Heinrich)............ 338 
Zurbaran (Francisco de) 
tAttnbuted].) 002. e.a2 652. 613 
Zwengauer (Anton).......... 413 


4 
a 
ae 
ef 
E 

= 
= 
a 
= 


LIST OF ILLUSTRATIONS 


Paintings 


Corot (J. B. C.). The Giant Willows... 3.2... 2.13: ae 
Corot (J..B. C.). The Roadside Cottage... 2. +1220 > senna 
Daumier (Honore). The Siesta. :...0% 000 6s 000 sccge «eerie See 
Diaz (N. V.). Landscape in the Forest of Fontainebleau............... 
Hogarth (William). Peg Woflington..< «05 c0e. 5 eas sie ee ne 
Inman (Henry). Fanny Kemble Butler................ ws ci 9 RCE Nee 
Isabey (Eugene). Street Scene... .... 4000 0s asi ss 2 sie enna 
Lawrence (Sir Thomas). Lady Henrietta Cavendish................... 
Mauve (Anton). Ploughing.........9.5...2neee: ainsi 
Michel (Georges). Landscape....... 2... i. nou snes seein 
Millet. Lovers in the Harvest Field=..- 3. .0 Soap ee 
Morland (George). The Rest at the Roadside.......................-- 
Quidor (John). Peter Stuyvesant Watching Festivities on the Battery... 
Reynolds (Sir Joshua). Cupid........ 2). soe ee 
Reynolds (Sir Joshua). The Nymph and Piping Boy................... 
Rosa (Salvator). A Classical Landscape. .2.< 3) 3.2- eee 
Rosa (Salvator). The Storm on the Coast... . 2.5 acy is ee 
Rousseau (Theodore). Sunset...... 205.020 ¢ 1 eal ane eine 
Sebastiano del Piombo. Madonna and Child.....................-00-- 
Troost (Cornelis). The Courtship... ..0..'.... fi) see 
Van Dyck. Marguerite, Duchess of Cleveland................ 23 Nee 
Van Goyen (Jan). Harvest Time..;...: 5:2. oc. ge sie 
Van Zyl. Orpheus... 00... viene we c's wre ole bo nts naiegne nee 
Veronese (Paul). Count Bevilaqua.... 0. . sss). circ ee 


Miscellaneous Art Objects 


Group of Decorated Chinese Porcelain Vases................++-----++s 
Black Hawthorn Chinese Porcelain Vase of the Kang-Si Period.......... 
Chinese Porcelain Peach Blow Vase. .....<.:. 5s eae tee teen een 
San Tsai Chinese Porcelain Vase of the Kang-Si Period...............\. 
Group of Fine Chinese Porcelains of Single Color.....................4: 
Original Hispano-Mauresque Vases.......... se: 0s semen 
Antique Japanese Bronze Temple Vases...............2esstees+scecees 
Antique Chinese Bronze Vases... ..4...: 1... Ponte ac) oe te 
French Bronze Fire Dogs of the XVIIIth Century.............. cee 
Group of Bronzes ‘by Clodion:...........+0ns oes eae ee 76, 77, 78 
Louis XVth Secretary in Vernis Martin; ..2 .......-2- eee 
Pompadour Table in. Vernis Martin.;.-.......2¥...o2<c 
Ancient Graeco-Egyptian Bust of Jupiter Ammon and Juno............. 


NOTE 


HE late Colonel Henry Thomas Chapman was one of the most widely- 

known Art Collectors of the country, his interest in the Fine Arts dating 
back to those years of his youth spent in Europe when completing his educa- 
tion, where he acquired his wide knowledge and discriminating judgment of 
the great masters. He did not confine himself to a single line, but acquired 
whatever appealed to his taste and added to his pleasure, and his home in 
Brooklyn, crowded with beautiful objects of every kind, was always open for 
the enjoyment of his many friends. 


In his collecting he felt it was impossible to study the work of any artist 
from a single piece, so he bought numerous examples long before the fashion 
for them had set in; he was one of the first American Collectors to appreciate 
the beauty and see the wisdom of collecting the works of the Eighteenth Cen- 
tury English painters; again while in Paris in 1879 he saw the important place 
that Michel held in the development of modern French art and acquired twenty- 
nine of his canvases. While there he came in touch with M. Arthur Stevens, 
the brother of the eminent painter, and from whose collection he acquired a 
number of works by French painters still to be found in this collection. From 
the beginning he was interested in the Barbizon painters and secured numerous 
examples of their work. 


After active service in the Civil War he returned to take up his vocation 
of Wall Street banker and broker, and being successful, he was able to devote 
his leisure to art matters. With other public-spirited men he became a Trustee 
of the Brooklyn Institute of Arts and Sciences. He held that position until 
his death and rendered very important service to the whole community. 


In addition to paintings by old and modern masters, he collected Chinese 
porcelains, European and Oriental bronzes, English and French china, minia- 
tures, books, autographs and other objects along diverse lines; but whatever 
the line he always had the courage to acquire an object because of his delight 
in it, regardless of the name or period which it represented. 


Most of the paintings and porcelains now shown were brought to The Ander- 
son Galleries from the Brooklyn Museum where they had been on public 
exhibition for the past fifteen years, attracting wide attention; others came 
from the home of splendid variety and profusion which he occupied for many 
years in Clinton Avenue. Their acquisition covers a period of nearly half a 
century, and while they represent only a part of the many things he acquired 
during that time, they show the many-sided taste of the man as well as the 
generous nature which made him widely beloved among men of his time. 


FROM THE COLLECTOR, SEPTEMBER, 1895 


“His Brooklyn mansion is but a museum, representing the wealth of forty 
years of collectorship, so carefully weeded out and selected that, unlike having, 
as in a public museum, to separate gold from dross, the gold alone offers itself 
to the eye. No man could form and amalgamate such collections as these by 
money alone. He must have been born and have grown up to it; to have 
gained knowledge, taste and judgment by long experience, under the spur of a 
natural predilection as impossible to define or analyze as } that which renders 
an artist great in art.’ 


A LETTER FROM M. DURAND-RUEL 


January 15th, ’88. 
Cher Monsieur: 


La visite que Je vous ai faite Dimanche dernier m’aprocure une bien grande 
jouissance et Je tiens 4 vous féliciter d’avoir pu reunir une collection aussi 
remarquable. J’ai été surtout tres frappe de vos appreciations si justes sur le 
mérite et les qualités d’art de tous nos grands peintres Francais que vous avez 
été un des premiers a comprendre et 4a collectionner. 

Vos Michel sont admirable. Quant au Jules Dupré, (Marine) sur lequel vous 
avez plus particuliérement appelé mon attention, Je le considére comme une 
des plus charmantes productions de cet artiste. 

Permittez moi de vous exprimer le plaisir que J’ ai €prouvé en trouvant en 
vous le profond enthousiasme et les solide connaissances qui font le veritable 
amateur. C’est malheureusement bien rare, non seulement ici, mais méme 
en France. 

Veuillez agréer, cher Monsieur, |’assurance de mes sentiments les plus dévoués. 

Duranp-RvEL. 
[ TRANSLATION ] 
Dear Sir: 

The visit which I paid you last Sunday brought me very great pleasure 
and I congratulate you in having been able to assemble so remarkable a col- 
lection. I was also greatly struck by your very just appreciation of all of our 
great French painters whom you were one of the first to understand and to 
collect. 

Your Michels are admirable. As to your Jules Dupre (Marine) to which you 
especially called my attention, I consider it one of the most charming works 
of that artist. 

Permit me to express to you the pleasure enjoyed in finding in you the great 
enthusiasm and profound knowledge which go to make the real amateur. 
This unhappily is very rare, not only here, but also in France. 

Accept, my dear Sir, the assurance of my profound esteem, 

Duranp-RuEL. 


a SP 
a aioe Ni rr 


{ 


& 
= 


=< 


FIRST SESSION 


Antique Glass; Chelsea, Dresden and Crown 
Derby Figures; Majolica, Delft and Hispano- 
Mauresque Vases; Sévres Garniture and 
Flemish Tapestry; Fine Modern 
_ Bronzes and Drawings by 

Famous Artists 


ANTIQUE GLASS 


These specimens of ancient glass, taken from Greek 
tombs of the Third and Fourth Centuries, B. C. are mostly 
from Tyre, the ancient seat of the glass industry. The 
light bowls and bottles were for food, oil and wine; the 
smaller articles were used for perfumes and ointments. 
They were placed in the tombs that the spirits of the dead 
might not want for refreshment in their transit to another 
world. The iridescence of the surface is due to disintegration 
from moisture of the tombs during the long ages. 


1 TWO WINE BOTTLES. 
With bulbous bodies and flat mouths. 
Pee 7 Height, 8% inches. 
2 .TWO LIGHT GREEN BOTTLES. 


An oil and a wine bottle with bulbous bodies and flat 
lips. Height, 7 inches. 


3 WINE BOTTLE AND DEEP BOWL. 


The bottle of pale green glass; the bowl with pine rim 
and foot. 
Height of bottle, 8% inches; diameter of bowl, 6 inches. 


15 


10 


11 


FOUR PERFUME BOTTLES. 
With bulbous or flattened bodies, long necks and 
flattened lips. Height, 5 Y% inches. 


ONE OIL AND TWO PERFUME BOTTLES. 
Top of one broken. Height, 5 % and 6 % inches. 


A BOWL AND A CUP. 


Bowl with ring rim and base. (Cup cracked and — 


broken.) 


DEEP DISH AND BOWL. 
With ring rim and foot. Diameter, 8 % and 5 inches. 


THREE SMALL BOWLS. 


Two of graceful shape with flat rims, one of cup shape; 
green and silver iridescence. (One broken.) 
Diameter, 3 ¥2 and 4 inches, 


THREE PERFUME BOTTLES. 


With green and silver iridescence. (One broken at the 
neck.) Height, 3 ¥% inches. 


WINE CUP AND BOTTLE. 


The cup with thread line about the body; the bottle 
with short neck and wide mouth. Silver iridescence. 
Height of cup, 3 34 inches; of bottle, 5 ¥% inches. 


TWO OIL BOTTLES. 


One with long, slender neck; the other with cylindrical 
body; green and silver iridescence. 
Height, 4 % inches. 


16 


. 
| 
ie 


{"- 


12 


13 


14 


15 


16 


17 


18 


19 


OIL BOTTLE AND BOWL. 


The bottle with long neck, candlestick shape, having 
silver iridescence; the bowl of amber glass with 
ribbed body. (Bowl cracked.) 


WIDE DISH AND BOWL. 


The dish is broad and shallow with rim and foot; 
the bowl, with foot. (Cracked.) 


BOWL AND PROCHOOS. 


The bowl with ring rim and foot; the Prochods or 
small oil jug with fluted handle joining lip and body. 


LARGE BOWL. 


With broad flaring mouth, ring rim and base. 
Diameter, 9% inches. 


GOOSE NECK OIL BOTTLE. 


The bowl fluted and decorated with a band of grouped 
beads; the long, slender neck twisted, terminating 
in a goose bill lip. Height, 16 inches. 


Porcelain and Pottery 


ORIENTAL IVORY CARVING. 
A skull held by a skeleton with serpent and frogs. 
Height, 2% inches. 

ORIENTAL IVORY CARVING. 


A girl playing a samisen with a skeleton dancing beside 
her. Height, 314 inches. 


MAJOLICA WATER BOTTLE. 
Of quaint shape with double handle. Height, 6 inches. 
We 


nt A eee 


7 ‘ 


20 


21 


22 


23 


24 


25 


26 


25 


MAJOLICA PITCHER. 


With handle shaped as a fish; decorated with portrait 
and coat of arms. (Neck cracked.) 


Height, 114 inches. 
PAIR OF OLD DELFT VASES. 


With panel decoration of a fishing scene. (Both 
repaired.) Height, 1 ree inches. 


ITALIAN MAJOLICA SLIPPER OF THE XVIth 
CENTURY. 


PAIR OF AUSTRIAN COVERED SACHET JARS. 


Showing oval panels painted with classical subjects. 
(Cover finials gone.) Teakwood stands. 
Height, 7 inches. 


CAPO DI MONTE CUP AND SAUCER. 


Decorated with flowers, shells and classical figures 
the handle formed of entwined serpents. 


OLD CHELSEA FIGURE. 
A child playing soldier. (Sword missing.) 
Height, 3 as inches. 
PAIR OF DRESDEN FIGURES. 


One shows a young woman dancing, the other a girl 
with a book under her arm. 
Height, 5% and 534 inches. 


PAIR OF OLD CHELSEA FIGURES REPRESENTING 
SUMMER AND AUTUMN. 


Standing figures holding flowers and grain. (Both 
repaired.) Height, 6 inches. 


18 


- FLORA. ; 
Small white Chelsea figure with a basket of flowers. “2 zs 
Height, 5 inches. ee 


= 29 THREE CAUGHLEY FIGURES. 
A Piper, a Vivandier and a Gallant. Height, 534 inches. 


"g 30 OLD CHELSEA FIGURE OF A PROPHET. 
(Base repaired.) Height, 9 inches. 


31 DRESDEN FIGURE OF A COURT LADY. 
eG (Neck cracked.) Height, 834 inches. 


32 OLD CHELSEA FIGURE OF FALSTAFF WITH 
SWORD AND HELMET. 
(Repaired.) Height, 10% inches. 


3 33 BUST OF NAPOLEON ne SEVRES BISQUE. 
Height, 1534 inches. 


34 FLOWER HOLDER OF RATZENDORFER ENAMEL. 
Viennese, XVIIIth Century 


Standing on an oval convex base, a child holds on his 
head a long horn terminating in an eagle’s head of 
finely chiseled bronze. The horn is decorated with a 
series of eight pictures, exquisitely painted in enamel 
on metal, representing the amours of Venus. The 
metal base has four medallions of classical subjects 
and the mountings are of silver gilt in a pattern of 
fruits, flowers and scrolls. 

Height, 6% inches; length, 8% inches. 

Bought from Tiffany & Co. 
19 


i 


ia SE MART a OAR ARE SNS Hci tg NNT RN ite 


35 OLD CROWN DERBY GARNITURE OF THREE 
PIECES. 


Consisting of an urn and two covered cups; the urn 
is painted with English landscapes and decorated with 
q j— garlands of colored flowers in relief, the cups show the 
same relief flowers and four grotesque asks in gold. 
(All skillfully repaired.) 
Height of urn, 5 inches; of CUPS, A Oe: 


(See Illustration) 


36 ORIGINAL HISPANO-MAURESQUE JAR. 


ae With four handles; decorated with copper luster glaze 
in aconventional pattern. (Cracked.) Height, 7 inches. 


37 PAIR OF ORIGINAL HISPANO-MAURESQUE VASES. 


Cylindrical in form with copper luster glaze in a series 
of foliated bands on a blue ground. Very rare. 


ge Height, 10% inches. 


(See Illustration) 


38 SEVRES MANTEL GARNITURE OF FIVE PIECES: 
CLOCK, CANDELABRA, ORNAMENTAL URNS. 


The clock of French gilt bronze with porcelain panels 

of blue de roi decorated with gold; the dial painted 

with a scene of gallantry in the Watteau style; blue 

2 urns on either side, and on top an urn filled with 
Jo8- flowers of ormolu, elaborately wrought. 

Height, 21¥ inches. 


The candelabra to match have panels painted with 
landscapes and figures; each has seven lights. 


Height, 26 inches. 
The urns are of graceful shape and show panels painted 
with landscapes and figures. Height, 17% inches. 


All are gold plated. Altogether they form a garniture 
of great beauty and remarkable quality. 


20 


ORIGINAL HISPANO-MAURESQUE VASES 


37. 


oO 


N 


fuo- 


SB, PS ah See So a ee 
2 +e eS 


39 ANTIQUE FLEMISH TAPESTRY: MEDIAEVAL 


40 


41 


42 


43 


45 


46 


FIGURE SUBJECT. 
Mounted as a portiére, bordered with blue silk plush 


and lined with brown velour. 
Length, 99 inches; width, 75 inches. 


Purchased from Duveen Bros. 


Modern Bronzes 


SMALL FIGURE OF A LION STANDING WITH 
FOREFOOT RESTING ON A SPHERE. 


Height, 2 inches; length, 314 inches. 


BRONZE COMIC GROUP: A MOTHER BEAR PUN- 
ISHING HER YOUNG. Height, 4 inches. 


SMALL BRONZE BY FRATIN: HUNTING DOG. | 
Height, 2% inches; length, 3% inches. 


BRONZE FIGURE: A FARMER’S BOY RESTING 
ON A LOG. Height, 3% inches. 


TWO AGATE SPECIMENS. 


Mounted together on a base covered with silver 
representing waves and spray. 
Height, 10 inches; length, 10 inches. 


BRONZE GROUP BY E. V. VAN MUYDEN: TWO 
TIGERS RESTING. 


Signed. Height, 334 inches; length, 734 inches. 


FRENCH BRONZE BY FRATIN: A BEAR AS A 
COBLER. 


Signed. Height, 514 inches. 
22 


48 


49 


51 


52 


53 


54 


55 


_ PAIR OF SMALL BRONZE FIGURES OF COURT 


50 


JESTERS. Height, 4% inches. 


PAIR OF SMALL ANIMAL FIGURES BY P. J. MENE: 
DEER AND STAG. 


Signed. Height, 2% inches. 


BRONZE FIGURE OF A BULL. 


On base of brocatelle marble. 
2 Height, 9 inches; length, 12 inches. 


GROUP BY P. J. MENE: TWO RABBITS GRAZING. 
Signed. _ Height, 4 inches. 


SMALL BRONZE BUST OF WASHINGTON, AFTER 


HOUDON. Height, 334 inches. 


FRENCH BRONZE: FIGURE OF A HORSE GIR- 
DLED. 


Black marble base. Height, 734 inches. 


PAIR OF PORTRAIT STATUETTES: STANDING 
FIGURES OF VOLTAIRE AND ROUSSEAU. 


_ On square bases of black marble and ormolu. 
Height, 9% inches. 
FRENCH BRONZE GROUP. 


A hunting dog standing with game in his mouth. 
Height, 8 inches. 


GROUP OF THREE CORINTHIAN COLUMNS. 


Reduced copy of those standing in the Forum at Rome. 
Base of yellow and black marble. Height, 1134 inches. 


23 


56 FIGURE BY FRATIN: A MONKEY TAKING HIS — 


— EASE. 
/ The monkey is seated in a chair with a bottle at his 
side. Signed. Height, 6 inches. 


See 57 FIGURE BY FRATIN: A BEAR AS A GAMBLER, 


Signed. Height, 534 inches. 
58 GROUP BY P. J. MENE: THREE HUNTING DOGS 
a ee ON A SCENT. 
Signed. Height, 8% inches; length, 15 inches. 
59 GROUP BY ISADORE BONHEUR: A COW KILLING 
af A WOLF. 
Signed. Height, 8 inches; length, 14 inches. 


60 FRENCH ORMOLU FIGURE: CUPID WITH ieee 
ae AND BOW. 
On circular base of red marble. Height, 12% inches. 


61 GROUP BY FRATIN: A LION BRINGING HOME A 
a DEAD BEAR. 


. 37 “ Signed. Height, 10 inches; length, 19 inches. 


62 PAIR OF BRONZE CANDLESTICKS. 


From a circular base rises the stem shaped as a tree 
G— trunk, whose root is encircled with a serpent, and 
bark studded with insects of ormolu; ormulu urn- 
shaped cup; single light. Height, 111% inches. 


63 BRONZE GROUP BY P. J. MENE: STAG FEEDING 
FROM A TREE 


J fe Signed. Height, 834 inches. 
24 


— 


65 


~~ 66 


peor 


68 


69 


70 


71 


72 


FRENCH BRONZE FIGURE: NAPOLEON STAND- 
ING IN UNIFORM AND COCKED HAT. 


With ebony stand. Height, 934 inches. 


GROUP BY P. J. MENE: HUNTING DOG. 
Signed. Height, 8% inches. 


FRENCH BRONZE BY DELABRIERRE: A DOG 
EATING. 


Signed. = Height, 5¥% inches. 


BRONZE GROUP BY A. PHIMISTER PROCTOR: 
BEAR AND RABBIT. 


Reduced copy, signed and dated ’94, 
} Height, 5% inches. 


ANTIQUE EGYPTIAN BRONZE SEAL WITH HAN- 
DLE SHAPED AS AN EGYPTIAN PRIEST, 


Height, 5% inches. 


FRENCH BRONZE GROUP, HERON CATCHING A 
FROG. ~ Height, 10% inches; length, 20 inches. 


From the Joseph Bonaparte Collection. 


FRENCH BRONZE BY GEORGES GARDET: 
CROUCHING TIGER. 


Signed. Height, 7% inches; length, 17 inches. 


ANIMAL FIGURE BY FRATIN: BULL MOOSE 
RECUMBENT AND ALERT. 


Signed. Height, 12 inches; length, 19 inches. 


BRONZE BUST OF WASHINGTON, AFTER HOU- 
DON. Height, 10 inches. 


25 


73 REDUCED COPY OF THE COLUMN VENDOME 
L- SURMOUNTED BY A FIGURE OF NAPOLEON. 
Black marble base. Height, 11 inches. 


74 GROUP BY P. J. MENE: MOUNTED JOCKEY GO- 
ING TO THE RACE. z 


ASS Signed. Height, 16 inches; length, 16% inches. 
75 GROUP BY GEORGES GARDET: A TIGER FIGHT- 

ING A SERPENT. | 
du- Signed. Height, 6 inches. 


76 BRONZE GROUP BY CLODION: FEMALE BAC- 
CHANTES BEARING THE INFANT BACCHUS ON 
THEIR SHOULDERS. 
jue Reproduced from the original in terra cotta; one of. 
a number of celebrated groups, including ““The Kiss 
Given” and “The Kiss Returned,’ made by Clodion 
for the Niederwiller Porcelain Factory at Nancy, his 
native town, between 1793 and 1797. Teakwood 


stand. Height, 10 inches. 
(See Illustration) 


77, GROUP BY CLODION: INFANT BACCHUS AND 
TWO YOUNG FAUNS. 
; The infant god, astride a dog, is held by a young faun 
&4 we with a second faun sprawling on the ground. Signed. 
| Height, 12% inches. 


(See Illustration) 


78 BRONZE GROUP BY CLODION: BACCHANTE AND 
FAUNS. 
They are giving the infant Bacchus a drink from a 
cup. The circular base is of red Italian marble. This 
iat belongs to the artist’s best period. He died in Paris 
in 1814, when seventy-six years old. Height, 19 inches. 
(See Illustration) 


26 


uolpo) Aq 
SAZNOUA AO dNOAD ‘8Z Pur LZ “OLSON 


ee 


79 STATUETTE: EROS BEARING A TORCH. 
Ja- On a base of red marble. Height, 13% inches. 


80 BRONZE FOUNTAIN OR ORNAMENTAL PIECE. 

On a circular pedestal stand three fauns upholding a- 

basin formed of four shell-shaped divisions, held by 

four winged figures, with four other figures on the é 

Yo) margin; from the center rises the figure of Flying ”~ 2 = 
Mercury after Giovanni da Bologna; the base and 

shell basins are richly ornamented with arabesques 

and foliations in relief and two figures, male and 

female, sit on the base holding reversed water jars. 

Height, 41 inches; diameter of basin, 17 inches. 


81 GROUP BY ANTOINE LOUIS BARYE: A BEAR 
ATTACKED BY DOGS. 


Part of the celebrated ‘“‘Hunt of the Bear,” which, 
with other groups, Barye made to order in 1833 for 
Go- that keen patron of the fine arts, the Duke of Orleans, 
as ornaments for a dinner table; the other pieces in 
this strange fancy to deck the festal board. of a prince, 
were his “‘Hunt of the Elk,” “Hunt of the Lion,” 
“Hunt of the Elephant,” and “Hunt of the Wild Ox.” 
Signed. Height, 12 inches; length, 16 inches. 


82 REDUCED COPY OF THE EQUESTRIAN STATUE 
OF GUATAMALATA. 


oe After the famous work by Donatello which stands in 
6 Padua. Height, 16 inches. 


83 FRENCH BRONZE FIGURE: A GLADIATOR. 


A standing nude figure with his helmet resting at his 
feet. Red marble base. Sword missing. 
Height, 16% inches. 
Pr 
r oe 28 


aay 


84 BUST BY A. STRALSER: A ZULU CHIEFTAIN. 


Life size bust on a pyramidal base of Italian marble. 
Signed and dated Paris, 1880. Height, 25 inches. 


85 PAIR OF GILT BRONZE FIRE DOGS. 


Two nude children holding mantles about their 
shoulders, and extending their hands toward the fire, 
are seated on metal bases. 

- Height, 15 inches; length, 14 inches, each. 


86 BRONZE GROUP BY J. J. JACQUET: A NUBIAN 


DEFENDING A WOMAN AND CHILD FROM THE 
ATTACK OF A LION. 
Signed. Height, 2 feet, 214 inches; length, 2 feet, 2 inches. 


87 BRONZE FIGURE: MERCURY SEATED FASTEN- 


ING HIS WINGED SANDAL. 
With teakwood stand. Height, 131% inches. 


88 PAIR OF ALTO RELIEVO GOLD BRONZE PLAQUES. 


Italian, XVIth Century 
Subjects: “The Presentation in the Temple;” “The 
Adoration of the Shepherds.” In ebony frames. 
Height, 8 inches; width, 16% inches. 


These remarkably fine pieces came from the Collection of 
Edouard Remenyi, the great violinist and art connoisseur. 


89 BRONZE BUST BY D. B. SHEAHAN: AN ITALIAN 


CHILD WITH SHAWL OVER HER HEAD. 
Signed and dated N. Y., 1887. Height, 20% inches. 


90 FRENCH BRONZE BY A. CARRIER: LUTE PLAYER, 


DANCING. 


Signed. Circular base of black marble. 
Height, 18 inches. 


29 


91 PAIR OF BRONZE FIRE DOGS: FRENCH, END OF — 
THE XVIIIth CENTURY. 
Each part shows:a nude slave bound in chains seated 
on a base of gilt bronze; the base rests on two paw 
Aro ‘< feet, is ornamented with volutes, between which are 
cherubim surrounded by scrolls. Extraordinary — 
examples of French workmanship. 
(See Illustration) ds “ 


92 BRONZE STANDING FIGURE ‘BY Z PICAULT: 
“PAX ET LABOR.” 
i) Ww Signed. Height, 29 inches. 


93 OAK PEDESTAL WITH SPIRAL STANDARD AND 
CARVED TOP. 


pin Pen, Crayon, and Wash Drawings 


GEORGE MORLAND 
1763-1804 
94 STUDIES OF DOGS AND CHILDREN. 
Lithograph. Signed and dated 1793. 
Jo- Height, 15 inches; width, 12 inches. 


LOUIS LEOPOLD BOILLY 
1761-1845 
95 A LAWYER AT COURT. 
Pencil drawing. Signed. 
Height, 8% inches; width, 7 inches, 
Ibe 
ALFRED STEVENS 
1828-1906 
96 GROUP OF TWO WOMEN, SKETCH FOR A PICTURE. 
Pen drawing. Signed with monogram. 
Height, 9 inches; width, 6 inches. 
Bought from Mr. S. P. Avery. 
Joe 30 


AYOQLINAO VITAX AHL JO SOOd Aaa AZNOYA HONAAA “16 ON 


UNKNOWN PAINTER 
French School, XVIIIth Century 


97 A FEMALE HEAD. 


Sepia drawing. Signed with monogram. 
y) 3- Height, 13 inches; width, 8 inches. 


RICHARD CREIFELDS 
Contemporary American Artist 


98 HEAD OF AN OLD MAN. 


Charcoal drawing. Signed and dated ’77. 
13 o Height, 18 inches; width, 14 inches. 


GEORGE MORLAND 
1763-1804 


99 THE COTTAGER’S FAMILY. 
Lithograph. Signed with initials. 
Height, 13 inches; width, 17 inches. 


¥Fe 


ALPHONSE DE NEUVILLE 
1836-1885 


100 THE BATTLE CHARGE. 


Pen and wash drawing. Signed and dated ’70. 


Height, 9 inches; width, 13% inches. 
biy~ 


MARIANO FORTUNY 
1838-1874 
101 A SOCIAL DANCE. 
Pen and ink drawing. Signed and dated 1860.. 
, Height, 8 inches; width, 10% inches. 
j= 
GEORGE MORLAND 
1763-1804 
102 BOATMEN HAVING LUNCH. 
Lithograph. Signed and dated 1795. 
Height, 12 inches; width, 17 inches. 


{7 - 32 


- HORACE VERNET 
1789-1863 


— OUS HEADS AND FIGURES. 


Pen and ink drawings. Signed. ; 
Height, 11 inches; width, 7 inches. 


EUGENE DELACROIX 
1799-1863 
104 A FAUN, GOAT AND WATER NYMPH. 


re Pen and ink drawing. Signed and aated 1835. 
ieee ss Height, 74% inches; width, 11% inches. 


EUGENE ISABEY 
1804-1886 
105 FISHING BOAT IN A GALE. 


Charcoal drawing. Stamped “Vente Isabey.” 
Height, 9% inches; width, 16 inches. 


JEAN BAPTISTE HUET 
1745-1811 
106 THREE RAMS’ HEADS. 


Crayon drawing. Signed. 
aa Height, 17 inches; width, 22 inches. 


re LEON L’HERMITTE 
1844- 
107 RETURNING FROM THE FIELDS. 
Charcoal drawing. Signed. 
Height, 6% inches; width, 12 inches. 
From the Durand-Ruel Sale, 1887. 
33 


du- 


Lg 


ya- 


G0 


eS ah ect eT ee a ar) 
Sp Jal Uy PERRI ae ree Cr eae te 


pe i A a Pe ee 
= Sg ie Nek bce eatile wg 


CHARLES J. CHAPLIN 
1825-1891 
108 THE CHARIOT OF VENUS. 


Pastel on gray paper. Signed. 
Height, 15 inches; width, 11 inches. — 


C. F. DAUBIGNY 
1817-1878 


109 A LION HUNT. 


Sepia drawing after Delacroix. Signed. 
Height, 13 inches; width, 18 inches. 


JEAN BAPTISTE HUET 
1745-1811 
110 TWO GIRLS’ HEADS. 


Sepia drawing. Signed. | 
Height, 10 inches; width, 8% inches. 


JOSEF ISRAELS 
1824-1910 


111 A FISHERMAN. 


Proof etching retouched by the artist. Signed. 
Height, 15 inches; width, 101% inches. 


LEON L’HERMITTE 
1844- 
112 CATTLE AT REST UNDER THE TREES. 


Charcoal drawing. Signed with initials. 
Height, 7 inches; width, 13 inches. 


From the Durand-Ruel Sale, 1887. 
34 


PIERRE P. PRUD’HON 
1758-1823 
113 THE HEAD OF A WOMAN. 


Pencil drawing. Signed. 
Height, 9 inches; width, 7 inches. 


_ J. B. C. COROT 
ee 2 1796-1875 
114 A PARK WOODLAND. | 


_ Charcoal drawing on gray paper. Signed and dated 
er e4D: Height, 17 inches; width, 121% inches. 


ALEXANDRE GABRIEL DECAMPS 
1803-1860 
‘US AN OLD MAN BENDING OVER HIS FALLEN SON. 


Charcoal drawing. Signed with initials. 
Height, 9% inches; width, 111% inches. 


LEON L’HERMITTE 
1844- 
116 AN OLD CHATEAU. — 


coe! drawing. Signed. 
Height, 9 inches; width, 18 inches. 


rn the Durand-Ruel Sale, 1887. 


117 “A PAINFUL OPERATION,” RELIEF WOOD CARV- 
ING INLAID WITH IVORY. 


After the painting by Brouwer in the Munich Gallery. 
Height, 12 inches; width, 15 inches. 


35 


| 

if E 
i . oo 
iu ” 
ta 
io . 
i 


MM teh oem 
Oe FRO ly Pia eee 


.- 


af - 


IG- 


SECOND SESSION 


Paintings by European and American Artists 


V. GAMBA 
Contemporary Italian Painter 


118 THE MUSIC LESSON. 


Water Color. Signed. : 
Height, 14% inches; width, 9 ay ae 


THOMAS DOUGHTY 
1793-1856 


119 LANDSCAPE. 


Oval Canvas. Signed. . 
Height, 13 inches; width, 16% inches. 


ADELE GOUYN 
120 STUDY OF STILL LIFE. 


Canvas. Signed and dated ’80. 
Height, 15 inches; width, 18 Se, 


A. BOULARD 
121 MARINE. = 
Canvas. Signed. Height, 15 inches; width, 18 inches. 


CARLETON WIGGINS : 
Contemporary American Painter 


122 A RAINY DAY NEAR BARBIZON, FRANCE. 
Canvas. Signed. Height, 9 inches; width, 11 inches. 
Purchased from the Artist. 
36 


LOUIS F. H. APOL 
ied Dutch Painter, 1850- 
Bs 123 MOONLIGHT LANDSCAPE. 
Water Color. Signed and dated 1881. 
— Height, 18% inches; width, 25 inches. 


gl ee HENRY INMAN 
1801-1846 
‘124 A WOODLAND LANDSCAPE. 
Canvas. Signed and dated 1845. 
: Height, 17 inches; width, 24 inches. 


. PHILIP VAN MASCHEREN 
eae Dutch, 1632-1699 
“5 NAVAL SCENE WITH SHIPS DRAWN UP IN A 
HARBOR. 
Canvas. Height, 14 inches; width, 38 inches. 


THEODULE RIBOT 
1823-1891 
126 LANDSCAPE STUDY. 
: One of the few landscapes to be found by this vigorous 
modern French painter of realistic style, his work 
being invariably in the field of genre and portraiture. 
Here as always he is a superb craftsman of sombre 
tonality. Panel. Signed. 
Height, 16 inches; width, 12% inches. 


JAN EVERT MOREL 

is 1777-1808 
127 DECORATIVE FLOWER PIECE. 

This Dutch artist lived and worked at Amsterdam 
where he formed his style by studying the works of 
Jan Van Huysum, the eminent Dutch flower painter. 

. A vase of flowers by Morel hangs in the Amsterdam 
Museum. Canvas. Signed. 

Height, 14% inches; width, 12 inches. 


37 


at- 


yy 


yoo 


39% 


THOMAS HICKS 
1823-1890 


128 RUINS OF AN AQUEDUCT NEAR ROME. 
Canvas. Signed. Height, 17 inches; width, 13 inches. 


PAUL DELAROCHE 
1797-1856 ; 


129 A WOMAN’S HEAD. 


In the artist’s great painting in the Louvre, “The - 


Death of Queen Elizabeth,” this is the head of the 
principal female figure who supports the head of the 
Queen. Canvas. Signed. 

Height, 16 inches; width, 13 inches. 


From the Collection of Thomas Robinson, 1886. 


ARTHUR B. DAVIES 
Contemporary American Painter 


130 PORTRAIT OF A CHILD. 
Canvas. Signed. Height, 11 inches; width,-8 inches. 


Purchased from the Artist. 


CAMILLE ROQUEPLAN 
1800-1855 


131 STREET SCENE IN A PROVINCIAL FRENCH 


TOWN. 


A genre and landscape painter, Roqueplan was one 


of the leaders of modern French art and has been 
much honored in his own country, his paintings 
being found in many French museums. He also 
exerted great influence through the pupils who 


worked under him; these include many illustrious 


modern painters. Canvas. Signed. 
Height, 14% inches; width, 11% incher. 


38 


ADRIAEN BROUWER 


) 1606-1638 
132 DUTCH BOORS IN A TAVERN. 
Panel. Height, 9 inches; width, 11% inches. 


CONSTANT TROYON 
1810-1865 
133 LANDSCAPE (A STUDY). 
Canvas, relined. Signed with initials. 
a _ Height, 8% inches; width, 13% inches. 


FRANCESCO PAOLO MICHETTI 
1852-1884 
a HEAD OF A NEAPOLITAN GIRL. 
Canvas. Signed and dated ’72. 
Height, 18 inches; width, 14 inches. 


JEAN LEON ANDRE GERICAULT 
1791-1824 


135 STUDY OF A LION. 
Canvas, relined. 
Height, 10% inches; width, 15 inches. 


From the General Aspinwall Collection. 


THOMAS GAINSBOROUGH 
1727-1788 


136 AN ENGLISH LANDSCAPE. 
Canvas, relined. Height, 10 inches; width, 12 inches. 


Bought at Christie’s in 1891. 


WILLIAM ETTY 


1787-1849 
137 GRIEF. 
Panel. Height, 8% inches; width, 10% inches. 


“By Etty, there are two thoroughly characteristic works, the 
“Morning Glory’ and a small study of a recumbent female figure, 
entitled ‘Grief,’ most beautiful in color and treatment of flesh.” 
—“The Collector,” September 1, 1895. 


39 


JULES DUPRE 


139 A LADY WITH A DOG. 
Panel. Signed. Height, 74 inches; width, 5% inches. 


PAUL DELAROCHE 
1797-1856 
140 A WOMAN’S HEAD. . 
This is a study of one of the Ladies in Waiting, from 
the artist’s great painting in the Louvre, “The 
Death of Queen Elizabeth,” painted in 1827. 
Canvas. Signed. Height, 16 inches; width, 13 inches. 


From the Collection of Thomas Robinson, 1886. 


* ALEXANDRE GABRIEL DECAMPS 
= 1803-1860 
141 STANDING FIGURE OF AN ARAB. 
a On academy board. Signed with initials. 
Height, 13 inches; width, 6% inches. 


4 oe 
fx JAN VAN GOYEN 
1596-1656 
142 HOLLAND SCENE. 

In the center of the picture rises the pointed tower 

% : > and massive donjon above the long low roof of the 
Sa . \v 4 ‘vy castle on the river bank; at the right a second smaller 

\ a? y) at tower is seen with some boats in the foreground. 

? yw Panel. Signed in monogram and dated 1632. 
. Ve oe ~ Height, 12 inches; width, 9% inches. 


Examined by Dr. Hofstede de Groot and certified as a genuine 
work of Jan Van Goyen. Photograph and certificate accompanies 
the picture. 


40 


1811-1889 5 
138 MARINE STUDY. ‘ a 
Panel. Signed. Height, 10 inches; width, 934 inches. ¢ 
N. V. DIAZ , 
1808-1876 


GERRIT BERCKHEYDE 
1638-1698 


: ey Canvas. Height, 17 inches; is 21% inches. 


From the collection of Edward Leavitt, 1884. 
Certified by Dr. Hofstede de Groot; certificate accompanies 


‘the painting. 
: UNKNOWN PAINTER 
= ag Italian School, XVth Century 
144 MADONNA AND CHILD. 
. ie Panel. | Height, 20¥2 inches; width, 1444 inches. 


CONSTANT TROYON 
ont J 1810-1865 

145 LANDSCAPE. 

Panel. Stamped “Vente Troyon.” 

Height, 15 inches; width, 22 inches. 


THEODORE ROUSSEAU 

1812-1867 
146 A RETREAT IN THE FOREST OF FONTAINE- 
BLEAU. 


Ina quiet nook of the forest among the rocks some 
deer and goats are resting; above and beyond 
stretches the woodland with patches of blue sky. 
Canvas. Signed. Height, 14 inches; width, 17 inches. 


a 


EUGENE DELACROIX 
1799-1863 


147 A LION AND SERPENT. 
Canvas. Signed. Height, 16 inches; width, 21 inches. 


“Among the examples of Delacroix is a superb lion, toying with 
a serpent, a small canvas, big with vitality and power of spirit 
and of color. Of this type of pictures by Delacroix there is none 
finer.” —“The Collector,” September 1, 1895. 


41 


ee 


Sta 


Meer 


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148 


149 


150 


151 


152 


153 


154 


ALEXANDRE GABRIEL DECAMPS 
1803-1860 
THE VILLAGE PRIEST. 
Panel. Signed with initials. 3 
Height, 13 inches; width, 9% inches. 


JULES DUPRE 
1812-1889 
SOUS BOIS, A WOODLAND STUDY. | 
Canvas. Signed. Height, 12 inches; width, 16 inches. 


Bought at the sale of Dupré’s effects in Paris after his death, 
January 30, 1890. 


* 


ARTHUR B. DAVIES 
Contemporary American Painter 
MAKING HER TOILET. 
Canvas. Signed. Height, 16 inches; width, 11 inches. 
Bought from the Artist. 


CONSTANT TROYON 
1810-1865. 
IN THE GARDEN. 
Panel. Height, 17% inches; width, 15 inches. 


CHARLES FRANCOIS DAUBIGNY 
1817-1878 
LANDSCAPE, LATE AFTERNOON. 
Canvas. Signed. Height, 10% inches; width, 18 inches. 


ADOLPHE MONTICELLI 
1824-1886 
IN THE PARK. 
Panel. Signed. Height, 18 inches; width, 15% inches. 


ARTHUR B. DAVIES 
Contemporary American Painter 


GIRL WITH A THORN IN HER FOOT. 
Canvas. Signed. Height, 16 inches; width, 11 inches. 
Purchased from the Artist. 
42 


JEAN FRANCOIS MILLET 
: 1814-1875 
155 A CARPENTER GOING TO WORK. 
- Panel. Signed with initials. 
Height, 14 inches; width, 8% inches. 
Purchased in Paris in 1879. 


CONSTANT TROYON 
1810-1865 


156 LANDSCAPE AND SHEEP. 


This picture by one of the greatest of modern French 

_ painters shows a flock of sheep grazing on an upland 

jes pasture at sunset; some lie at rest, others wait 

patiently for the shepherd to bring them home for 
the night. Panel. Stamped “Vent Troyon.” 

: Height, 11 inches; width, 16 a inches. 


From the sale of the Artist’s effects. 


PAUL JACQUES BAUDRY 
1828-1886 


157 LEDA AND THE SWAN. 
Panel. Signed. Height, 15 inches; width, 9 inches. 


GEORGE FROST 
1744-1821 


= 158. “WOODS IN SURREY. 


Frost was an amateur painter who was brought up 
in the trade of his father who was a builder; but 
having gained a competence he devoted himself to 
painting. He was an ardent admirer and follower 
of Gainsborough in his landscape work and a friend 
of Constable, whose association was a great aid to him. 
Canvas. Height, 24 inches; width, 31 inches. 


43 


Zo- 


Vd ¢ 


SWS EE Ree ea OL ae Se ea 
‘ eo : oa Ws Sree ee ee ee 


CHARLES B. KING 
American Painter 
159 PORTRAIT OF SARAH JANE LIPPINCOTT 
(GRACE GREENWOOD). 
This portrait presents the popular American writer 
of the last generation in half-length with the face 
seen in three-quarters view. She wears a low-cut 
dress with a blue bow of ribbon at her corsage, and 
her hair falls in curls about her neck. An inscription 
on the back of the canvas informs us that the subject 
was painted in Washington in 1853. Canvas. 
Signed. Height, 25 inches; width, 20 inches. 


ARTHUR B. DAVIES 
Contemporary American Painter 
160 THE GODDESS. 

A nude female figure is seen from the back, seated 
on the ground; her head, crowned with a mass of 
red hair, is bent forward over her knees and an in- 
distinct leafy background is seen beyond. Canvas. 
Signed. A. B. D. 

Height, 34 inches; width, 27 inches. 


Purchased from the Artist. 


JACQUES COURTOIS (Called IL BORGONONE) 
1621-1676 . 
161 A BATTLE SCENE. 
Canvas, relined. Height, 29 inches; width, 38 inches. 


UNKNOWN PAINTER 
Early Flemish School, XVth Century 
162 MADONNA AND CHILD. 
The Mother holding the Infant Christ in her lap is 
seen seated; a Flemish landscape fills the background. 
‘ Painted with great care, the picture is marked by 
naive simplicity and deep sincerity. Panel. 


Height, 14 inches; width, 10% inches. 
44 


7 
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Kevin 
« 


¥ 


JEAN FRANCOIS MILLET 
1814-1875 
163 LES FALAISES DU BOULOGNE A CINQ HEUR 
* —DU SOIR. 
Canvas. Signed ‘Souvenir d’ Amitie a Chigot, 
Jj. F. Millet.” Height, 914 inches; width, 14 inches. 


Purchased for Mr. Chapman in 1887 from M. Chigot by Mr. P. 
E, Rudell, the artist. 


“LUCA GIORDANO 
1632-1705 


‘lét SLEEPING CUPID. 


_ The young god lies at full length, nude and asleep, 
his left hand holding his bow, with a lamp burning 
above his feet. A Latin inscription runs across the 
foreground: “HECCE UT COSUM PIVR IGNI” 
(Zeus Behold and Consume Him by Fire.) Canvas. 
Height, 21 inches; width, 35 inches. 


JOHN QUIDOR 
1800-1881 


165 THE VIGILANT STUYVESANT’S WALL STREET 
GATE. 


“The next care of the vigilant Stuyvesant was to 
strengthen and fortify New Amsterdam. For that 
purpose he caused to be built a strong picket fence 
that reached across the island from river to river, 
being intended to protect the city, not merely from 
the sudden invasion of foreign enemies, but likewise 
from the invasion of neighboring savages.”—Irving’s 
Knickerbocker’s History. Canvas. 

Height, 27 inches; width, 34 inches. 


From the Carroll Collection, 1895. 
45 


SEER OR Se Se CARAT Maree ee ae? eater ns 
wins IRR a SaaS RPT ae cars MA dT ba Tk gag 


for 


Ie- 


166 


167 


168 


169 


170 


HORACE VERNET 
1789-1863 


ADMIRAL VILLIERS JOYEUSE. 


The subject is seen at half length wearing his uniform 
richly trimmed with gold lace, and a white wig. 


Canvas, oval. Height, 32 inches; width, 26 inches. 


JOHN BERNAY CROME 


1793-1842 
ON THE BURE, YARMOUTH. . 
Canvas. Height, 23 inches; width, 29 inches. 


JAN BRUEGHEL, THE YOUNGER 


1601-1677 
PEASANTS RETURNING FROM THE VINEYARDS. 
Panel. Height, 10% inches; width, 14% inches. 


ALEXANDRE GABRIEL DECAMPS 
1803-1860 


A WOODLAND POND WITH DUCKS. 
Canvas. Signed. Height, 23 inches; width, 29 inches. 


FRANCESCO GUARDI 
1712-1793 


VIEW IN VENICE. 


This picture shows the monastery and church of San 
Giorgio with its tall campanile, seen across the basin 
of the Dogana. It was in this place that Lord 
Byron took up his residence with the monks when 
he came to Italy in 1816. Canvas, relined. 


Height, 1334 inches; width, 22 inches. a 


Purchased from the Leavitt Collection, 1884. 
46 


JOHN CROME (Called OLD CROME) 
1786-1821 


171 THE RIVERSIDE. 
Panel. Height, 12 inches; width, 16 inches. 
_ Presented to Mr. Chapman by the late Joseph C. Hoagland. 


FRANZ VAN MIERIS 

= 1635-1681 

172. THE DUET. 
In an attractive interior, a woman is seen playing 
a lute accompanied by a man playing the harp. 
The picture is painted with the greatest attention to 
detail, and shows the artist’s gifts at rendering silks 
and satins, in which he was unrivaled. Van Mieris 
was the friend of Jan Steen and a pupil of Gerard 
Dow, who termed him the prince of all his scholars. 
Panel. Height, 10% inches; width, 8% inches. 


RALPH ALBERT BLAKELOCK 
1848- 


3 : 173 FARM HOUSE OF T.B.GUEST, CORNER OF FIFTY- 
Ge: THIRD STREET AND SEVENTH AVENUE. 
— Canvas. Signed. Height, 16 inches; width, 24 inches. 
t Ry So > oe Purchased from Sypher & Co., 1884. 


H. S. BABCOCK 
174 THE OPEN BOOK. 


A very pleasing example of this little known but 
ga talented American painter, who was a pupil of Millet 
Eg and lived at Barbizon. Panel. Signed and dated ‘61. 
=  )d- Height, 9 inches; width, 12 inches. 
2 47 


J. B..C..COROT 
1796-1875 
175 ROAD THROUGH A VILLAGE. 


From the foreground a road runs away passing be- 
tween some red roofed houses: Down the toad” a 


aoe 


5 aN rh ESET" TROD BT errata eens 


GUSTAVE COURBET 
1819-1877 


176 A WATERSPOUT. 
Canvas. Signed. Height, 25 inches; width, 3176 Fiche. 
“The Courbet, a bold and original picture of | = 


The canvas seems water soaked.” James G. es ker i in the 
N.Y? | “Sun” = 


GEORGE MORLAND ~ 
1763-1804 ie 


177 THE REST AT THE ROADSIDE. 


In the deep shade of a great tree which fills ee nee 
part of the picture, a man, seated by the roadside, 
detains a yourig girl who is passing with a donkey 
loaded with market baskets. In the background 
seated at the base of the tree are seen two boys and 
a woman. Canvas. Signed. Dated 1796. 
Height, 30 inches; width, 25 Sichiey. 


3 fo— Purchased from J. Ichenhauser, 1894. 


“A Morland, of a donkey girl on a forest road, deserves attention 
for the charm of its invention and the deliciousness of its touch.” 
Mr. F. J. Mather in the “Evening Post,” Jan. 24, 1 


(See Illustration) 
48 


No. 177. THE REST AT THE ROADSIDE 
By George Morland 


VY 7 


LAuO7 


Lat 


GEORGES MICHEL 
1763-1843 


178 MOONLIGHT ON THE RIVER. 


On the right stands a windmill at the water’s edge, 
above which rises the steep bank crowned with a 
clump of trees; across the river a church with a tall 
spire is seen and in the foreground some boatmen 
are nearing shore where a group of cattle is standing. 
Canvas. - Height, 27 inches; width, 38 inches. 


J. B. C. COROT 
1796-1875 


179 AN ITALIAN GIRL. 


Wearing a red dress with white apron and kerchief, 

and the white peasant head-dress of the country, 

the young girl stands holding a water vessel in her 

left hand. Panel. Stamped ‘‘Vente Corot,” with 

seal of the sale on the back. 
Height, 12% inches; width, 9 inches. 

THEODORE ROUSSEAU 2 

1812-1867 


180 SUNSET. 


Against a crimson sky a mass of trees spread their 
branches, broken here and there by spots of light; 
the ruddy light touches the clouds above and deepens 
into fire along the horizon, against which the tree 
trunks are drawn in soldierly array. Canvas, relined. 
Signed. Height, 14 inches; width, 19 inches. 
Exhibited at the Lewis and Clark Exposition, 1905. 


Exhibited at the Worcester Museum, 1909. 
Exhibited at the Alaska Exposition, 1909. 


“This Rousseau, with its combination of breadth and detail 
and its singular vitality of color, reveals the Fontainebleau painter 
in one of his happiest moods.”— Mr. Samuel Swift in the “Mail 
and Express.” 

(See Illustration) 


50 


nvassnoy s1opoay | Ag 
LAHSNOS “O8T °N 


et 


Ve 


yr 


qe 


L4+6 G— 


JOHN SINGLETON COPLEY 
1737-1815 
181 PORTRAIT OF A MAN. 
Wearing a court dress and white wig, the sitter is 
seen in three-quarters view, bust length. Oval, 
canvas. Height, 19 inches; width, 16 inches. 


JOHN QUIDOR 


1800-1881 
182 PETER STUYVESANT’S JOURNEY UP THE HUD- 
SON. 
Canvas. Height, 27 inches; width, 34 inches. 


From the Carroll Collection, 1895. 


GEORGE MORLAND 


1763-1804 
183. PIGS. 


Above a rude barrier at the left, a small boy with — 
golden hair and chubby face leans, looking at a group 
of pigs; one is munching a cabbage leaf, others lie 
quietly at the back. Canvas. Signed. Dated 1797. 

Height, 16 inches; width, 20% inches. 


Purchased in 1885 from an English gentleman who inherited it 
from his father. 


WILLIAM SHAYER 
1788-1879 


184 MUSSEL GATHERERS ON THE COAST OF ENG 
LAND. 


Canvas. Signed. Height, 26 inches; width, 36 inches. 


GIOVANNI PAOLO PANNINI 


1695-1764 
185 LANDSCAPE SEEN THROUGH A RUINED ARCH- 
WAY. 
Canvas. Height, 31 inches; width, 26 inches. 
52 


WYATT EATON 
1849-1896 
186 LANDSCAPE. 

A broad green landscape, its surface broken with 
trees, barns, cattle and long lines of fences, stretches 
away toward a distant ridge of hills that looms dark 

against the horizon. Two oxen graze in the fore- 
iz ground and the expanse of green is streaked by the 
ie Q )0- light and shade of the clouds above. Throughout 
| runs a deep sensuousness of color that lifts it to a 
i high place among American artistic productions. 
ie. Canvas. Signed and dated 1887. 
iz - ; Height, 28 inches; width, 36 inches. 


Purchased from the Artist. ~ 


SANTI DI TITO 

es | ‘ 1536-1603 

y 187 PORTRAIT OF COUNT GIORGIO UGOLINI. 
Wearing the robe of a senator the nobleman seen at 
three-quarters length, stands with his left hand rest- 
ing on a table. His hair is grey as is his pointed 
beard and mustache, and he holds in his right hand a 
letter inscribed ‘Al Clar’mo Sig. Giorgio Ugolini.” 
4 G O- The artist was a Florentine painter and pupil of Bron- 
zino. Canvas. Height, 52 inches; width, 38 inches. 


From the Collection of Henry Doetsch, Esq., sold at Christie’s, 
1895; the Catalogue of this Collection was compiled by Dr. 
J. P. Richter. 


FRANCESCO ALBANI 
1578-1660 
188 VENUS AND ADONIS. 

Venus nude reclines attended by amorini, while 
Adonis in Roman dress leans on his staff as he looks 
down toward her. Canvas. 

Height, 28 inches; width, 35 inches. 

: ys ee From the W. J. Shaw Collection. 


“A full example of how these Bolognese painters could make 
the flesh live is seen in a ‘Venus and Adonis’ of Albani.”—New 
York “Evening Post.” 


53 


WILLIAM LINTON 
1791-1876 


189 VIEW IN THE ENGLISH LAKES. c 


Linton was a popular English landscape painter who 
took up the tradition of the classic school following | 

aXe 7 in the footsteps of Claude, Poussin and Wilson. 
Canvas. Signed. Height, 26 inches; width, 36 inches. — 


KAREL BORCHAERT VOET 
1670-1745 


190 WILD FOWL. 

This still life painter, though of Dutch origin and 

training, when a youth entered the service of the 

Earl of Portland and accompanied him to England, 

where he spent considerable time, being also employed 

there by King William III. His work was much 
= influenced by the popular French court painter of | 
YS ~ Louis XIVth. Desportes who also spent some time in — 

England where his game pictures commanded high 

prices. Canvas, relined. : 


Height, 42 inches; width, 39 inches. 


CLAUDE JOSEPH VERNET 
. 1712-1789 
191) THE WRECK: 


In a small inlet hemmed in by great cliffs, a vessel 
has been driven on the rocks; some men are trying 
to save part of the cargo. On the right a cliff arched 
by the buffeting of the sea, extends out from the 

} ea des shore, and a black sky filled with storm clouds — 
stretches above. Canvas, relined. 


Height, 36 inches; width, 54 inches. 
54° 


ALOIS ERDTELT 
_ Contemporary German Painter 


192 AN OLD WOMAN AND CHILD. 


An old woman wearing a cap holds on her lap a 
semi-nude child who struggles to escape being kissed 

by her. Canvas. Signed and dated ’84. 
Height, 30 inches; width, 25 inches. 


JOSEPH JEFFERSON 
— 1829-1905 


75193 THE. OLD MILL IN THE FOREST. 


= Beside a singing brook that makes its way through 

Syed _ the deep wood, stands a deserted mill. Tall trees 

is rise on either hand while moss-grown rocks in the 
foreground add to the romantic scene. 

This painting was a gift from the distinguished actor, 

and is inscribed in the lower corner “To Henry T. 

Chapman from his friend J. Jefferson.” Canvas. 

, Height, 45 inches; width, 36 inches. 


GIOVANNI BUSI CARIANI 
1480-1541 


194 ST. THERESA, PATRON SAINT OF WRITERS. 


A refined woman in the white dress and black cloak 
of a nun is seated at a table on which are writing 
materials. The sombre background shows the 
corridor of a convent. Canvas. 


Height, 89 inches; width, 42 inches. 


55 


SAE I oars Ie pence nt aa a es 
Res shinies he CP ee ee tira Ree pete a pee lire 3: = 


{ 


THIRD SESSION 


Ivory Miniatures, Oriental Pottery and Porcelain, 


195 


198 


199 


Crystal Balls, Chinese Bronzes, Vernis Martin 
Furniture, and Marble Sculpture 


The Pottery and Porcelains in this session, numbered 
from 217 to 242, inclusive, are from the Brooklyn Insti- 
tute and were expertized and described by the late 
Chester Holcombe. (See note beginning Fifth Session.) 
The few remaining pieces, acquired subsequently to the 
examination of Mr. Holcombe, were removed from the 
Clinton Avenue residence of Mr. Chapman. 


IVORY MINIATURE. 


Portrait of a gentleman. In wood frame. 
Height, 3 inches; width, 2 inches. 


MINIATURE PORTRAITS OF TWO SISTERS. 
(Slightly damaged.) Diameter, 234 inches. 


MINIATURE PORTRAIT OF NAPOLEON. 


Enamel painting on copper in monochrome. 
Diameter, 17% inches. 


MINIATURE PORTRAIT OF AN UNKNOWN MAN. 
Height, 24% inches; width, 2 inches. 


MINIATURE PORTRAIT OF A YOUTH. 


Mounted as a pendant. 


Height, 114 inches; width, 1¥%4 inches. “De 


56 


200 IVORY MINIATURE. 


Mrs. Siddons, after Gainsborough. 
Height, 3 inches; width, 2% inches. 


201 IVORY MINIATURE. 


Portrait of a man unknown. 
Height, 2 inches; width, 15% inches. 


202 MINIATURE PORTRAIT OF A WOMAN IN WHITE. 


Circular mount. Diameter, 2% inches. 


203 MINIATURE PORTRAIT OF A WOMAN IN BLACK. 


Circular mount. : Diameter, 2% inches. 


Peat Ne pees Laie ; 


ey Pk Re oe Shee 
Tree any Sich Oe ae 


204 MINIATURE PORTRAIT OF A WOMAN WEARING 
A JEWELED BANDEAU. 


Oval gold-plated mounting. 
Height, 23% inches; width, 158 inches. 


Pz: 


es = 
\ 


205 MINIATURE PORTRAIT OF LAFAYETTE, AFTER 
ARY SCHEFFER. 

Enamel painting on copper by W. Birch, made from 

the full-length portrait presented by Lafayette to 

G- the Congress of the United States. An inscription 
on the back runs as follows: “General Lafayette as at 

ga the anniversary of the battle of York Town, Oct. 19th 
1824, by W. Birch, from A. Scheffer.” © (Corner 
cracked.) Height, 2 inches; width, 134 inches. 


i ns 206 MINIATURE PORTRAIT OF AN UNKNOWN MAN. 
(Cracked.) Height, 2% inches; width, 2 inches. 


207 MINIATURE JAR. 


Of deep red color and brilliant glaze. 
Height, 2% inches. 


57 


fo- 


209 


210 


211 


Zig 


213 


214 


245 


216 


SMALL BOTTLE-SHAPED VASE. 


Of coral red; very even color and brilliant glaze. 
Height, 6% inches. 


SMALL POTTERY JAR OF TURQUOISE BLUE 
GLAZE. 


The shoulder decorated with groups of raised paste 
beads. Height, 4% inches. 


TWO JAPANESE POTTERY TEA BOWLS. 
(Cover of one missing.) Height, 33% inches. 


SMALL VASE OF MILK-WHITE GLAZE. 


Decorated with oleander flowers and birds. 
Height, 7 inches. 


PAIR OF CHINESE POTTERY VASES. 


Decorated with applied figures on a crackle ground. 
Height, 10% inches. 


VASE. 


With decoration of flowers, phoenix and dragon in © 


sepia on a milk-white ground. Height, 8 inches. 


JAPANESE POTTERY TEA BOWL. 


With deep black glaze. (Cracked.) 
Diameter, 44% inche 2 


MINIATURE CHINESE VASE. 
With milk-white glaze. Height, 234 inches. 


CHINESE SQUARE DISH. 


Decorated with a flower pattern in white on a deep 
red ground. Width, 7% inches. 


58 


An early attempt of Japanese decorative art. Speci- 
_ men shows the marks of extreme antiquity. 
+ Diameter, 44% inches. 


er ¥ 
es 


18 PIGMY JAR. 
Pottery covered by brilliant glaze in varying shades 
> of blue. — Height, 3 inches. 
JAR. 


e. Brilliant brown glaze interspersed with splashes of 
__ black upon a coarse pottery glaze. Height, 3 inches. 
220 BOWL. 
Of coarse brown pottery covered by a thick and oily 
black glaze. Height, 2% inches; diameter, 434 inches. 


fae -221— JAR; 
pea Of coarse porcelain, with fluted sides covered by thin 
and exceptionally brilliant green glaze. 

Height, 4 inches. . 


222. VASE. 
An interesting early attempt at decoration (probably 
Corean). Height, 4% inches. 
223 JAR. 


An interesting specimen of Japanese freehand work. 
Upon a body of pottery the lower half of the jar is 
covered with a brilliant Celadon glaze over imitated 
crackle. The upper half of the body is covered with 
narrow bands of irregular lines incised in the pottery, 
and upon this are drawn irregular lines of a thick 
dark brown brilliant glaze which covers the entire 
neck. Height, 5% inches. 


59 


Ss 


' 
' 
; 
f 
. 
; 


ae 


ty 


224 


225 


226 


Dyas 


228 


eS) 


BOWL. = 
Of pottery, covered by a thick, smooth and extremely 
brilliant glaze of brown. 

Height, 2% inches; diameter, 5 inches. 


PIGMY JAR. 
An extremely interesting specimen of Japanese glaze 
upon pottery. Height, 2 inches. 
JAR. 


Originally of a pale olive green glaze over pottery, 
and gracefully ornamented in relief by branches 
from body to lip. This specimen has manifestly 
been exposed to fire, with some curious results. 
Notice the transformation effected by heat, in the 
bottom. Height, 3 inches. 


WINE BOTTLE. 
An ancient “Saki” bottle. Fine quality of pottery 
with dogs’ heads bosses on the shoulder and incised 
ornamentation and re-entrant bands about the body. 
An undecipherable hall-mark may be seen upon 
one of these bands. Height, 834 inches. 


JAR. a 
One of the earliest specimens of Japanese pottery. 
The glaze shows only in spots, and quartz is a large 


ingredient in the paste. A crude specimen of early 
efforts. Height, 2% inches. 


VASE. 


An interesting specimen of Japanese Flambé glaze 


on pottery, the glaze being thick and intensely  ~% 


brilliant, the general color being blue. 
Height, 6% inches. 


60 


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4 
© 
# 


i 
ae 
, a 
‘mo: 
aE rae 

i 4 2 


230 


a 231 


233 


234 


235 


JAR. 
An interesting antique specimen of early Japanese 
ceramic art. The pottery foundation is so coarse 
as to remind one of brick, partially covered with a 


brilliant glaze of dark grey, shading into green. 
Height, 34 inches. 


BOWL. 
Pottery covered by thick brown glaze varying in 
color according to the thickness of the glaze. 
= Height, 314 inches. 
JAR. : : 
_ Exceedingly coarse pottery covered with thick and 
brilliant glaze, shading into black at the base where 
it has run down and thickened. Height, 4 inches. 


CUP. 
Tea cup of pottery, a portion of the exterior and the 
entire interior being covered by a thin, moderately 
brilliant glaze. Height, 214 inches. 


JAR. 
Pottery ribbed about the lower half with a beautiful 
design of branches of the Cryptomeria, incised and 
filled in with gold leaf about the base. Brilliant 
black glaze; has the hall-mark of the maker in the 
circle at the bottom. Height, 5% inches. 


BLALUETTE. 


Pottery, covered by white color and transparent 
glaze. Represents a Samurai, partly dressed in the 
armor of olden times and bearing the crest of his 
Daimio, or feudal prince, upon his breast. An 
antique specimen. Height, 8 inches. 


61 


ae pias it aia ate 
Pi ge ; 


Le, Tere ; 


236 


237 


238 


239 


240 


JAR. 


An interesting example of ancient Japanese ware. 
On a base of rather coarse pottery has been super- 
imposed a pale grey crackle in porcelain. The shape 
represents two joints of the trunk of a bamboo, upon 
which, in low relief and under the crackle, are 
smaller twigs and leaves of the same. Period uncer- 
tain, but the specimen is unquestionably antique. 

Height, 9 inches. 


SAKI BOTTLE. 


Pottery gracefully moulded into the form of a bag, 
which is gathered into folds at the top. Upon a 
light brown base are seen irregular splashes of black. 
The piece retains the silken cord and tassel by which 
it was carried. Height, 6 inches. 


JAR. 


Pottery with a thin soft glaze of an even grey color, 
decorated in lines and circles in white, touched up 
with black. Height, 4 inches. 


BOWL. 


Pottery mainly covered by a dark brown glaze, the 
rim outlined with a line of white glaze irregularly 
laid on. Height, 2% inches. 


JAR. 


An early example, or rather an early attempt, at 
decoration in color. The base is pottery, the main 
glaze intended for white, upon which are three 
medallions intended to represent flowers in green. 
Valuable because of its manifest antiquity. 

Height, 3 inches. 


62 


243 


244 


245 


246 


247 


AL 


i 242 


MEDICINE CUP. 
Agate of dull white in which the cup is shaped to 
represent a section of a peach, while a handle is 


formed by a tiny branch of the same tree carved in 
bold open work. Modern. Height, 34 inch. 


PAR S. 

Modern Japanese glazed pottery, intended to be used 
_ by smokers. It usually contains a live coal in a bed 
of ashes from which the tiny pipe is lighted. Speci- 
men is covered with varying shades of intensely 
_ brilliant glaze, deep, rich yellow being the pre- 
dominant color. Ornamented upon either side with 

conventional heads of sleeve dogs. 


Height, 2% inches. 


DEEP CUP OF DARK COPPER GLAZE. 


Diameter, 6 inches. Period, XIXth Century. 


SMALL JAPANESE JAR. 


With panels of diaper decoration studded with 
raised paste points. Height, 3% inches. 


SMALL INCENSE JAR OF MILK-WHITE GLAZE. 
_ With pierced brass cover. Height, 344 inches. 
JAPANESE FISH BOWL. 


Both inside and outside surfaces decorated with 


fish on a milk-white ground. Diameter, 7¥% inches. 


PERSIAN BOWL. 
The outside decorated with panels of birds and foliage 
in blue on a white ground; the inside with a foliated 
band about the edge and a rosette in the bottom. 


(Chipped.) Diameter, 84% tnches. 
63 


} 


bu - 


aed 


248 


249 


250 


251 


252 


253 


PERSIAN VASE OF GREEN POTTERY. 


Hexagonal in form with two handles springing from 
grotesque heads; bands of incised decoration on 
body, neck and base. Height, 1034 inches. 


PERSIAN SAUCER. 


With copper luster decoration on deep blue ground. 
(Repaired.) Diameter, 6% inches. 


PERSIAN BOTTLE-SHAPED VASE. 


With silver rim; decorated with a floral pattern 
in deep blue on a blue ground. Carved teakwood 
stand. Height, 6% inches. 


SMALL VASE OF PERSIAN POTTERY. 


Decorated with a conventional floral pattern in 
green and white glaze. Neck gone and bound with 
a metal rim. (Glaze chipped.) Height, 8 inches. 


PERSIAN BOWL. 


The outside decorated with a conventional pattern 
in two shades of blue, the inside with a leaf and 
flower pattern in brown. Diameter, 8% inches. 


OLD TERRA COTTA GROUP: THE GRIEF OF THE 
VIRGIN MARY. 


The central figure, grief stricken, is being supported 

by one at each side and a third at the back, while 

two others bend over in sympathetic attention. 

The group is painted in colors but is greatly darkened 

by time. The figures and drapery are well modeled 

and highly expressive of the emotion they feel. 
Height, 914 inches; width, 10 inches. 

64 


& 
. 


atts 


254 SHALLOW BOWL ON A STANDARD. 


With deep red glaze. Diameter, 8% inches; 


- height, 34% inches. Period of Chien-Lung. 


255 GOURD-SHAPED BOTTLE VASE. 
With deep red glaze. Height, 5% inches. 
; ae Period, Chien-Lung, A. D. 1736. 


256 LARGE CELADON JAR. 
With animal head handles. Height, 11 inches. 
Si} ee Period of Chien-Lung, A. D. 1736. 


257 THREE CHINESE GLASS SNUFF BOTTLES. 
— With tops and spoons. 


258 BOTTLE-SHAPED VASE. 
With deep red glaze, the top having been cut down 


and rimmed with silver. Height, 9% inches. 
Period of Chien-Lung, A. D. 1736. 


259 SMALL VASE. 


With decorations of leaves and flowers in natural 
colors on a nasturtium ground. Inside of lip glazed 
with robin’s egg blue. Height, 634 inches. 

Period of Chien-Lung, A. D. 1736. 


-260 SMALL RECTANGULAR VASE WITH HANDLES. 


Blue and white decoration. Height, 5 inches. 
Period of Chien-Lung, A. D. 1736. 


261 SMALL BOTTLE-SHAPED VASE. 


With deep red glaze. Height, 5 inches. 
Period of Chien-Lung, A. D. 1736. 


65 


262 


263 


264 


265 


266 


267 


268 


269 


BOTTLE-SHAPED VASE. : . 
With deep red glaze. (Repaired.) Height, 1134 inches. 
Period of Chien-Lung, A. D. 1736. 


CELADON BARREL-SHAPED FLOWER HOLDER. 


Encircled with two rows of white bosses and having 
two animal-head handles. Height, 6% inches. 
Period of Yung-Chéng, A. D. 1723. 


BOTTLE-SHAPED VASE. 


With soft milk-white ground having decorations of 
flowers and butterflies. Height, 7 inches. 
Period of Chien-Lung, A. D. 1736. 


VASE. 


Decorated with figures in clouds of white on a black 
ground, with a green and yellow border about the lip. 
Height, 9% inches. 

Period of Chien-Lung, A. D. 1736. 


SLENDER BOTTLE-SHAPED VASE. 


With deep red glaze. Height, 111% inches. 
Period of Yung-Chéng, A. D. 1723. 


OVOID VASE WITH DEEP RIM BASE. 


Invested with dark chicken’s blood glaze. 
Height, 1134 inches. 


LARGE BOTTLE-SHAPED FLAMBE VASE. 


The neck and bowl are encircled with rings, the 
glaze showing a mingling of deep red and green. 
Height, 1534 inches. Period of Tao-Quang, 1821. 


CRYSTAL BALL. 
On a wood stand. Diameter, 234 inches. 
66 


Ve 


CRYSTAL BALL. 
On teakwood stand. (With a small nick.) 


CRYSTAL BALL. 


CRYSTAL BALL. 
Improvised stand. (With small chip.) 


Diameter, 2% inches. 


273 CRYSTAL BALL. 


(With small chip.) Diameter, 2 inches. 


274 BRONZE GROUP OF THREE CHINESE CHILDREN. 


With hands joined ina ring. Stand for the preceding. 
Height, 134 inches. 


Antique Chinese and Japanese Bronzes 


“The old Japanese and Chinese bronzes form a distinct collec- 
tion, recording the movement of this great art from before the 
Christian era. One of the most important is a ‘God of the Storm,’ 
many characteristics of which indicate its age to be above 2,000 
years, There are vases of great age, showing the remarkable skill 
of that nation 600 or 800 years ago, and notably a large pair 
of vases, forty-three inches high and twenty-one inches in diameter 
at top and bottom, the intermediate columns, or barrels, of which, 
from their great age, have obtained a color which is perfectly 
fascinating. The less conspicuous pieces are quite too numerous 
for recapitulation except in a detailed and descriptive catalogue.” 
—The Collector, Sept. 1, 1895. 


277 THREE SWORD GUARDS. 


Iron inlaid with gold in ornamental patterns. 


278 BRONZE FIGURE OF AN EGYPTIAN RUNNER. 
Height, 6 inches. 


67 


Diameter, 234 inches. 


With inverted teakwood stand. (With small chip.) 
Diameter, 234 inches. 


279 


280 


281 


282 


283 


284 


285 


286 


287 


288 


Sea wah, thet oot Naat CS. Ry eee 
SPST) en ne aaNee ST Ate Ben hr oa 
Sy Se ea Ps VE Ep EON eee een or ae ae 


CHINESE BRONZE FIGURE: A MAN SEATED | 


YAWNING, WITH HANDS ABOVE HIS HEAD. | 
Height, 234 inches. 


CHINESE BRONZE FIGURE: A WISE MAN 


SEATED. Height, 244 inches. 


SMALL JAPANESE BRONZE FIGURE OF DAIKOKU — 


SITTING ON A RICE BAG WITH BELL. 
Height, 134 inches. 


SMALL JAPANESE BRONZE DOG FOO. | 
Height, 134 inches. 


ANTIQUE CHINESE BRONZE CUP. 


With flaring lip and two square handles. 
Height, 334 inches. 


SMALL JAPANESE BRONZE GROTESQUE MASK 
OF OFUKU. Length, 3 inches. 


CHINESE BRONZE TEAPOT. 


Shaped as a melon with leaf feet, leaf and vine relief 
decoration, and handle of cover shaped as a cricket. 
Height, 5% inches. 


JAPANESE BRONZE GROUP: DAIKOKU AND 


JIORIJIN AT PLAY. Length, 5 inches. 


CHINESE BRONZE PAPER WEIGHT: A COILED 
SERPENT. Height, 2 inches; width, 6 inches. 


JAPANESE BRONZE ORNAMENT: TWO OWLS 
RESTING ON A BRANCH. 


Height, 3 inches; length, 534 inches. 
68 


; 3a Aig nels 
MS oo 
~~: pe 


Souk 


eS 5 tae TE 5 


sof 


it 


Ae . 
aH, 
a 
s 
e 
- 


ry 7 -. 
got, SORE 
Rb te ean 
way babes 
oy “fasta 


e 
a. 
ae 


290 


291 
292 


293 


294 


295 


296 


297 


298 


ANTIQUE BRONZE FIGURE OF A CHINESE 
ACTOR. 


Carved teakwood stand. Height, 10 inches. 


OLD SAKI POT. 


On four feet, with handle, hinged cover, and spout 
shaped as a dragon. Height, 3% inches. 


DAIKOKU SEATED ON A SILVER BRONZE BASE 
SHAPED AS A BAG OF GRAIN. Height, 214 inches. 


ANTIQUE JAPANESE BRONZE ORNAMENT: A 
DEITY PRAYING FOR RAIN. = Height, 15 inches. 


A CIRCULAR JAPANESE BRONZE FLOWER VASE. 


The vase rests on a base representing rocks and wave 
forms, with shells, crabs and other marine growths. 
Used for floral arrangement. 

Height, 8% inches; diameter, 94% inches. 


ANTIQUE CHINESE BUDDHA, SEATED. 
Height, 8% inches. 


CHINESE BRONZE KORO FORMED AS A CHINESE 
JUNK. Height, 10 inches. 


ANTIQUE CHINESE BRONZE FIGURE: A SAGE 
HOLDING A SHOE. 


On a carved teakwood stand. Height, 12% inches. 


CHINESE SILVER BRONZE FIGURE OF A 
DARUMA AT PRAYER. Height, 7 inches. 


GROTESQUE CHINESE FIGURE: AN ACTOR. 
(Repaired.) 
Height, 10 inches. 


Carved teakwood stand. 


69 


Le x 


ier 


299 


300 


301 


302 


303 


304 


305 


306 


i: Reed Pa ae ee Te ee Pas fms: 


PAIR OF ANTIQUE JAPANESE VASES. 
Decorated in relief with figures and dragons sporting 
in the clouds. XVIIIth Century. Height, 9% inches. 


A CHINESE PILGRIM WITH A BRANCH OF FRUIT 
ON HIS BACK. 


With teakwood stand. Height, 18 inches. 


ANTIQUE CHINESE BRONZE INCENSE BURNER. 


Resting on three curled feet and having one grotesque 
head handle. Height, 5¥% inches. 


CHINESE BRONZE FIGURE: A FORTUNE TEL- 
LER. 


On hemispherical base. With teakwood stand. 
Height, 10% inches. 


ANTIQUE CHINESE BRONZE FIGURE: ACTOR 
WITH SWORD DANCING. 


On a carved teakwood stand. Height, 10% inches. 


- ANTIQUE CHINESE BRONZE BOWL. 


Height, 4 inches; diameter, 8 inches. 


PAIR OF ANTIQUE CHINESE BRONZE VASES. 


Ornamented in high relief with dragons sporting in 
the waves. Extraordinary examples of Oriental Art _ 
of an early period. Height, 9 inches. 


(See Illustration) 


ANTIQUE CHINESE BRONZE KORO. 


With bulbous body resting on curled feet, two loop 
handles; the cover pierced and surmounted by a 
representation of the Dog Foo. Height, 8% inches. 


70 


ER Re tee « 


ANTIQUE CHINESE BRONZE VASES 


307 CHINESE BRONZE VASE. 


Ss With bands of relief decoration and five ring handled ‘ ca 
ete ( mat (One handle broken.) Height, 1234 inches. ‘ he 


308 BRONZE VASE. 


ap cae With square base and square lip and two hanes | : 
the body ornamented with dragons and wave forms 
in relief. _ Height, 6 inches. 


309 LARGE ANTIQUE JAPANESE: BRONZE KORO IN 
TWO PARTS. 

y ic 4 The spherical bowl, ornamented in relief with dragons 
sporting in the waves, rests on a circular base, the 
pedestal of which is encircled by a dragon. 

Height, 23 inches; diameter, 11 inches. 


310 JAPANESE BRONZE URN. 


fr With relief ornamentation and two handles shaped 


as dragons. Signed. Height, 9% inches. 


311 LONG-NECKED BOTTLE-SHAPED JAPANESE 
BRONZE VASE. 


jin With Murashide pati ght, 1134 i 
urashide patina. Height, 114% inches. 
312 ANTIQUE CHINESE BRONZE FIGURE: A WOMAN 
BEGGAR. 
. Holding a cup in her hands the woman sits on a 
ys es mound covered with foliage which forms the base. 


Height, 173% inches. (3 pieces.) 
72 


a ne ae 
s i ee 
: i - 5 


ANTIQUE BRONZE INCENSE BURNER IN THE 
FORM OF A FLYING DRAGON FISH. 


With finely wrought relief ornament. 
Height, 18% inches. 


ANTIQUE JAPANESE FIGURE OF A MUSICIAN: 
MAN PLAYING A FLUTE. Height, 9% inches. 


PAIR OF ANTIQUE JAPANESE BRONZE VASES. 


Bottle shape with body ornamented with dragons 
and cloud forms in relief; two handles. (Handles 
loose.) Height, 15 inches. 


CHINESE BRONZE KORO IN THE FORM OF A 
PEACH. 


_ The cover surmounted by a peach with leaves. 
; Height, 6% inches. 


ANTIQUE JAPANESE BRONZE KORO. 


The base in the form of a tree, among the branches 
of which birds are resting, supports a revolving cir- 
cular drum, ornamented with leaves and flowers; — 
on top of the drum is an eagle perched on a coiled 
serpent. (Repaired in one of the branches.) 
Height, 24 inches. 


. CHINESE BRONZE VASE WITH FLAT ROUND 
2 TOP. 


4 Fi % s- ~The pedestal decorated with grotesque heads, bats 
; . and dragons in relief. 
a Height, 10 inches; diameter of top, 934 inches. 
a 319 ANTIQUE CHINESE BRONZE FIGURE. 
* A wise man standing on a hemispherical base, hold- 
c- ing a scroll. Square teakwood stand. 


; Height, 12 inches. 
=: 73 


320 ANTIQUE JAPANESE BRONZE KORO. 


The circular bowl, resting on four feet, is ornamented 
in high relief with dragons sporting in the waves; — 


Pet 


ee ae 
es ee 


/ an the cover surmounted by a dragon rising from the 
waves. Height, 944 inches; diameter, 9 inches. 


ce TS 


= XY ats 
PES EEE ea eae a 


4 


a t 
‘ae 
. “ae 
Bee 
ie 
oe x 
: oe 
4 


321 ANTIQUE JAPANESE BRONZE FIGURE: GOD 


f- OF THE STORM. 
He stands on a rocky eminence with dragons sporting 
in the waves below. Height, 16 inches. 


322 CHINESE BRONZE TEMPLE KORO. 
Resting on three grotesque legs with paw feet; the 
) E sides ornamented with bands and panels; two side 


handles; used in the temple. 
Height, 24% inches; width, 21 inches. 


323 PAIR OF ANTIQUE JAPANESE BRONZE TEMPLE 
VASES OR PEDESTALS. 
Urn-shaped base with tall cylindrical neck; orna- 
mented with dragons, cloud and wave forms in 
relief. Circular covers with incised decoration fill 
ae the tops making them serviceable as pedestals. 
Extraordinary pieces. ; 
Height, 41 inches; diameter of top, 21 inches. 


(See Illustration) 


324. TWO TEAKWOOD STANDS. 
Finely carved with claw and ball feet and marble 
tops. 


bo 2 74 


eryny 
EN 


No. 323. ANTIQUE JAPANESE BRONZE TEMPLE VASES 


325 LADY’S WORK TABLE DECORATED IN VERNI 
MARTIN. . 

Having taper legs with bronze feet, kettle sides with _ 

two drawers, hinged top with bronze scroll rim and _ 

a 3 corner ornamental bronze mounts; top and sides — 
S= painted with wood nymphs and amorini. | | 
Top, 11% inches square. 


326 SMALL POMPADOUR TABLE IN VERNIS MAR- 
TIN. 


Curved taper legs supporting a ies, sctallshapel 

bed with three drawers; scroll-edged top with 

pie bronze rail, the whole painted with mythological 

/ vd subjects, garlands of flowers and scrolls in Vernis 
Martin. Chiseled bronze mounts. 

Length, 28 inches; width, 16 inches. 


Bought of H. O. Watson thirty years ago. 
(See Illustration) 


327 FRENCH CABINET SECRETARY, LOUIS XVth 
STYLE. 


The slender upright body, having a concave cornice 
and Italian marble top, rests on four tapering curved 
legs; the hinged drop front is exquisitely painted 
with a Watteau Féte Gallante in Vernis Martin, 
above three smaller panels in the same manner on 
} V7 the bed; the sides show painted figures and trophies, 
and the inside is lined with satinwood with walnut 
inlays and fitted with two shelves and four drawers; — 
there are also two secret drawers below. The elabo- 
rate mountings of bronze are in leaf, scroll and shell 
pattern. 
Height, 54 inches; width, 33 inches; depth, 16 inches. 


Bought of H. O. Watson, thirty years ago. 


a 
i 2 
BS 
} 
i. 


ee 
a 
; at 
; / 
‘oe 
it 

‘ 


A 


(See Illustration) 
76 


Ga 
* 
* 
% 
= 


ght Rae 4 2 


POMPADOUR TABLE IN VERNIS MARTIN 


2 O20. 


No 


hi 


Vv 


/o- 


w* 


a 


328 


329 


330 


331 


332 


NAPOLEON MAHOGANY ARM CHAIR. 


With carved legs and paw feet, the arms ending in 
massive lion’s heads supported by carved scrolls, 
the heavy back curved, the seat covered with dark 
green leather. 

The chair came from the Palace of Malmaison, the 
home of Empress Josephine, when the contents were 
sold at the Hotel Drouot, Paris, 1886, in settlement 
of the estate of Hennessy, the Brandy manufacturer, 
who had acquired the palace and contents sometime 
before. At the sale it was purchased by Mr. Graham 
who brought it to New York and from him it came 
to the home of its late owner. A metal plate on the 
bottom sets forth its history. 


MARBLE FIGURE ENTITLED “ SORPRESA,” BY 
C. LAPINI. 


Signed. Revolving pedestal of green marble. 
Height, 2 feet, 4 inches. 


MARBLE FIGURE, “THE FLIGHT FROM POM- 

PEI,” BY GUARDONI. . 
A young girl with an expression of terror on her face, 
draws her garments about her form as she flees from 
_ the impending destruction. Architectural ebonized 
wood pedestal with revolving top. Height of statue, 
3 feet, 11 inches; pedestal, 3 feet, 2 inches. 

Purchased from Theodore B. Starr. 


MARBLE BUST, THE “MATER DOLOROSO.” 


The head and bust of a woman, her head covered 
with a veil held in place on her bosom by a star. 


PEDESTAL OF SIENNA MARBLE. 
With base and revolving top of brocatelle marble. 
73 


S MARTIN 
ERs VirCES 


NI 


VER 
OF THR 


N 
E 


I 


ITUR 


SECRETARY 
N 


th 


, 


\ 


mooi LOUIS Xx 
35. CROWN DERBY GAR 


No 
No. 


fQ- 


333 


334 


335 


336 


MARBLE BUST OF MEG MERRILLIES, BY — 
THAXTER. 
From Charlotte Cushman’s noted presenereaa of 
the weird gipsy character in the dramatization of — 
Scott’s novel “Guy Mannering.” With revolving — 
marble pedestal. Signed. — Height, 22 inches. 
Bought of Tiffany & Co. . 


MARBLE BUST OF WASHINGTON, BY HIRAM — 
POWERS. | es 
Of heroic size. Height, 2 feet, 9 inches. 


= 


REVOLVING PEDESTAL OF SIENNA MARBLE. 


ANCIENT GRAECO-EGYPTIAN BUST OF JUPITER 
AMMON AND JUNO. ; 

This bi-frontal bust is of pure Graeco-Egyptian style 
and belongs to the period of 100 B. C. It was found — 
in the Island of Wakos in the Grecian Archipelago, 
and was originally placed on a square pedestal at the 
entrance of a grotto. Though fractured at the base, 
the parts, fitting exactly, have been restored; there 
are calcareous spots on the surface, indicating that 
the piece for hundreds of years was subject to the 
action of the surrounding earth or decomposing 
limestone. 

_The ram was an animal sacred to he Egyptian god 
Ammon at Thebes, and when the worship of this 
god was amalgamated with that of Jupiter by the 
Greek conquerors in Egypt, the flowing beard, the 
ram’s ears and ram’s horns were added; they are_ 
all depicted on the busts of this deity as well as on the 
Greek coins of the time. Heroic size. 

Height, 25 inches. 


_ From the Collection of Mr. P. E. Lockwood, who spent 16 years 
in Greece and Italy in the study of antiquities. 
Came into the present owner’s possession in 1892. 


(See Illustration) 
80 


R AMMON AND JUNO 


. 
4 
a 


No. 336. ANCIENT GRAECO-EGYPTIAN BUST OF JUPITE 


we 


Jrar 


ae eae 


dun 


337 


338 


330 


‘ 340 


FOURTH SESSION = 
Paintings by European and American Artists .. 
CARLETON WIGGINS 


Contemporary American Painter 


PLOWING IN FRANCE. 


Canvas. Signed. 


HEINRICH ZUGEL 


SHEEP AND CATTLE IN A STABLE. 
Panel. Signed and dated Munich, 1878. 
Height, 9¥4 inches; width, 13¥4 inches. 


PAUL VOGLER 
Contemporary German Painter 
PLACE DE LA BOURSE, PARIS. 
Panel. Signed. Height, 12\%4 inches; width, 16 inches. 


HENRY ROBERT MORLAND 
1730-1797 
PORTRAIT OF SPRANGER BARRY. 


Only the head of this celebrated Irish actor, the 
rival of Garrick, is shown. Canvas. 


Purchased in 1895. 


Height, 10 inches; width, 7¥4 inches. : 


Purchased from the Artist. 


1850- 


Height, 17 inches; width, 13 inches. 


82 


CLAUDE JOSEPH VERNET 
1712-1789 


341 MOONLIGHT. 


The most renowned marine painter of his time, 
Vernet was commissioned to paint all the seaports 
| of France and many of his canvases may be seen in 
ye the Louvre and at Versailles. This small work shows 
the distinguished artist in a quiet, reflective mood. 

Panel. Signed and dated 1771. 
Height, 7 inches; width, 934 inches. 


-PHILIPP RUMPF 


1831- 
342 MOTHER AND CHILD. 
WwW Canvas. Signed. Height, 20 inches; width, 16 inches. 


RELIEF PICTURE ON LEATHER 
XVIIIth Century 
343 THE THREE WOMEN AT THE FOOT OF THE 
CROSS. 
Mounted on a panel. 
Height, 16% inches; width, 12% inches. 
! } An inscription on the back runs: “Presented to James Murphy 


of oe by John McCloskey, Archbishop of New York, 


in 
UNKNOWN PAINTER 
French School, XIXth Century 
344 HEAD OF A WILD BOAR. 
. : Panel. Height, 15 inches; width, 22 inches. 
de ° Purchased at the “Vente Troyon.” 


GEORGE MORLAND 
1763-1894 


345 A BOY RESTING BY THE ROADSIDE. 
Canvas. Height, 18 inches; width, 24 inches. 


83 
dy ae- 


nS be ti Ses en a aetna a ek a Late gee 8 ae ME ee 
=i a aK, a OSES CMOS ED One es ae ee f 
: 1 , i - . ie ta ? Aas ik eh cia Os uel seh 


SIR DAVID WILKIE 
1785-1841 


346 SLIGHTLY OVERCOME. 


This picture shows a man overcome by drink being 
helped home by two of his companions. It reveals 
. the influence of the Dutch masters which marked 
Lpa- sities nea: 
the art of this eminent Scotch painter in his best 
period. Panel. Height, 1034 inches; width, 9% inches. 


JOHN QUIDOR 
1800-1881 
347, THE VOYAGE TO HELL GATE FROM COMMUNI- 
PAW. 
“The good Oloffe bestowed his forces in a squadron 
of three canoes and hoisted his flag on board a little 
a round Dutch boat shaped not unlike a tub, which had 
Ss formerly been the jolly boat of the ‘Goede Vrouw’!”’ 
The artist portrays the attempted landing at Cor- 
lear’s Hook; the encounter with savages and the 
“signal victory” gained by the valliant Hendrick | 

Kip. Canvas. Height, 27 inches; width, 34 inches. 

From the Carroll Collection, 1895. 


UNKNOWN PAINTER OF THE FRENCH SCHOOL 
348 PORTRAIT OF LOUIS PHILIPPE. 


In a heavily braided court costume with red sash, 
and wearing several orders on his breast, the French 
king is seen at bust length and life size; a high black 
3 AE stock supports his chin, his face is smooth and dimpled 
and his brown eyes look directly at the spectator; 
above his forehead curls a mass of dark hair. Canvas, 


relined. Height, 29 inches; width, 23 inches. 
PIETER VAN BLOEMEN 
1657-1719 
349 THE DESCENT FROM THE CROSS. 
Panel. Height, 20 inches; width, 16 inches. 


84 
ATS 


P. MANZONI 


350 THE FARM HOUSE IN THE WOOD. 
Canvas. Signed. Height, 20 inches; width, 16 inches. 


GEORGE MORLAND 
1763-1804 


351 PORTRAIT OF HIMSELF. 


Wearing a brown coat and buff waistcoat open at 
the neck to show a white stock and a flowing white 
tie, the young artist, seemingly at about 30 years of 
age, is seen front view at bust length. His blonde 
hair falls over his forehead and covers his ears, and 
his small eyes gaze intently forward. Canvas. 
Height, 15 inches; width, 11 inches. 


JOHN QUIDOR 
1800-1881 
American Painter, Pupil of J. W. Jarvis 


352 ICHABOD CRANE PURSUED BY THE HEADLESS 


HORSEMAN. 
- Canvas. Height, 22 inches; width, 30 inches. 
‘a { Purchased from a relative of the Artist. 


JOHN GLOVER 
1767-1849 


353 VIEW OF WARWICK CASTLE. 


This popular English artist was better known as a 
water color painter, in which medium he chiefly 
worked. After a successful career in England he 
went to Australia where the last eighteen years of 
a ¢ - his life were spent. Canvas. Signed. 
Height, 24 inches; width, 36 inches. 


85 


Fo- 


EN 


1§- 


dia- 


PA es 


354 PORTRAIT OF HUGH WILLIAM WILLIAMS. 


SIR HENRY RAEBURN 
1756-1823 


The English water color artist is seen at half length 
in blue coat with brass buttons, and buff waistcoat — 
whose lapels fall away from the neck to show a 
ruffled shirt front. His right hand holds the roll of : 
his coat. His blue eyes look directly at the spectator 
and his thin white hair curls over his ears. In the ; 
background is an easel on which rests a canvas. 
Canvas, relined. Height, 30 inches; width, 25 inches. 
From Thomas MacLean & Co., London. 


“AELBERT CUYP 


1620-1691 
355 SHEEP AND GOATS. 
Canvas. Height, 28 inches; width, 35 inches. 


From the Collection of Edward Leavitt, 1884. 


PHILIP VAN MASCHEREN a ve 
Dutch, 1632-1699 
356 NAVAL BATTLE: ENGAGEMENT TAKING PLACE 
IN A HARBOR. 
Canvas. Height, 14 inches; width, 38 inches. 


F. V. DOORNIK 
357 PORTRAIT OF ISAAC DE PEYSTER. 


This member of the early New York family i is seen 
at half length wearing a long white wig and holding — “h 1 
his cloak about him. Painted in 1731. Canvas, 
relined. Oval. Height, 29 inches; width, 23 inches. 


4 
& 


Bt 
F. V. DOORNIK 


358 PORTRAIT OF ANN DE PEYSTER. 
Companion to the foregoing. Signed and dated, 1731. 
Height, 29 inches; width, 23 inches. > \ 
86 a, 


WILLIAM HOGARTH 


1697-1764 
359 THE MUSIC MASTER. 
Canvas. Height, 9 inches; width, 7 inches. 


LUCA GIORDANO 
1632-1705 


360 THE INFANT HERCULES. 
An inscription on lower right corner runs “ Promone 
ae! vn belmal. Sereno il reff ... . (illegible’’). 
ep j ee Canvas. — Height, 21 inches; width, 35 inches. 


_JAN BAPTIST LAMBRECHTS 
eaten 8 Flemish, 1680-1731 
Ee 361 A SUPPER PARTY IN A GARDEN. 


2 q A group of men and women in Eighteenth Century 
4 dress, are gathered about a small round table under 
the trees on which a supper is spread. Canvas. 

Height, 22 inches; width, 18 inches. 


GEORGES MICHEL 
tia 1763-1843 
i 362 LANDSCAPE. 
Along a roadway which curves across a gloomy 
moorland, a man walks leading a horse; the sky 
is filled with low hanging black clouds. Canvas. 
; } A ie) Height, 12 inches; width, 18 inches. 


ARTHUR B. DAVIES 
Contemporary American Painter 


363 THE CHILDREN ON HAMPSTEAD HEATH. 
Canvas. Signed. 
Height, 7% inches; width, 12% inches. 


/tir- Bought from the Artist. 


87 


ase 


LON 


Fo/ 


Ib - 


Jos- 


UNKNOWN PAINTER 
Spanish School, XVIth Century ae 
364 MADONNA AND CHILD ENTHRONED. See Sa 
Canvas. In an antique carved wood frame. — ; sZ 
Height, 25 inches; width, 19 inches. 


HENRY INMAN 
1801-1846 
365 PORTRAIT OF FANNY KEMBLE BUTLER. — 

The popular actress, who played tragedy and comedy 
with eminent success, is shown dressed in white seated 
in a red arm chair, her right hand resting on the arm 
of the chair. Across the white dress is a blue sash 
and her brown hair is arranged in many puffs. 
A brown curtain which forms the background is 
lifted at the right revealing a landscape. Canvas. 

Height, 34 inches; width, 27 inches. 


(See Illustration) 


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ae it R ay © a 
acta at Bal a ‘ 
ae Spat 2 ~ 7 : 
Enon pel, are 
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- ” gir 6 os 
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F _ a D » Sy poe 
ate: Abt No Say EB are ep ahs ie 
eye yt AB aes 2 : 


CONSTANT TROYON 
1810-1865 
366 LANDSCAPE (A STUDY). 
Canvas, relined. Signed with initials. 
Height, 8% inches; width, 13% inches. 


ARTHUR B. DAVIES 
Contemporary American Painter 
367 DEIRDRE. 

Canvas, relined. Signed. 
Height, 6 inches; width, 15 inches. 


Purchased from the Artist. 


RALPH ALBERT BLAKELOCK 
1848- 


368 A SYLVAN STREAM. 
Panel. Signed both front and back. 
Height, 8 inches; width, 12 inches. 


88 


ee eee ee 


FANNY KEMBLE BUTLER 


Vay 


6 


[oa 


No. 


By Henry Inman 


ALEXANDRE GABRIEL DECAMPS 
1803-1860 


369 SCHOOL TIME IN THE ORIENT. 


Canvas. Signed. Height, 8 inches; width, 12% iches a 


Fiat ; “One of the most delightful cabinet pictures in existence by 
ly 4 <8 this unexcelled Orientalist.”—William Howe Downes in the — 
Boston Transcript. tear e 


J. B. C. COROT 
1796-1875 | 
370 THE ROADSIDE COTTAGE. 
On the left stands a modest cottage bela which two 
figures are seen, with a third advancing from the 
roadway which curves through the foreground; trees 
in summer foliage bend over the roof, and a pool 
of water bordered with sedgy grass lies at the right. 
Ris Above, a blue sky is filled with rolling clouds. Canvas. 
} Tt Signed. Height, 15 inches; width, 18 inches. 
Reproduced in “Renaissance and Modern Art,” by Wm. H. 
Goodyear, M.A., in 1894, 
Exhibited at the Montreal Art Association, 1905. 
Exhibited at the Alaska-Yukon Exposition, 1909. 


(See Illustration) 


N. V. DIAZ 
1808- 1876 


371 THE LITTLE FLOWER GIRL. 
A blonde barefoot child comes down a eadoy ey 
holding up her dress which she has filled with flowers. 
Painted in oil colors on paper and mounted on card- 
ye board. Inscribed on the back “A ma petite ami 
N Victorine. N. Diaz.” ‘ 
Height, 10 inches; width, 6 % inches 


JULES DUPRE 


1811-1889 


372 _MARINE STUDY. 
Panel. Signed. Height, 414 inches; width, 7% inches. 


J te- “a 


3010) ‘Dd “f 4g 
AOVLLOO ACGISGVOU AHL OLE ON 


JEAN LEON ANDRE GERICAULT 
1791-1824 


373 A STUDY OF TWO HORSES. - 
Canvas. Height, 11 inches; width, 8 inches. 


ee 
ff Bought of T. J. Blakeslee, 1891. 


J OHAN BARTHOLD JONGKIND 


1819-1891 
374. MOONLIGHT ON THE RIVER AT AMSTERDAM. 
Panel. Height, 12 inches; width, 16 inches. 
/Sd ; ERSKINE NICOL 
1825- 


375 THE DAY AFTER THE FAIR. 
On Academy board. Signed. 
Height, 13 inches; width, 9% inches. 


Fa- 
CONSTANT TROYON 
1810-1865 


376 LANDSCAPE (A STUDY). 
Panel. Signed with initials. 
Height, 10 inches; width, 13% inches. 


Joo0- JAN VAN RAVESTEYN 
, 1572-1655 


377, PORTRAIT OF A DUTCH LADY. 
Canvas, relined. Height, 23 inches; width, 20 inches. 


“A fine example of the art of that masterly portrait painter, 
whose Corporation groups in the Municipal Museum at the 
Hague are among the finest works of their kind in the world.”— 
William Howe Downes in the Boston Transcript. 


“Another portrait of much power is also of a woman. This is 
-_ by Jan van Ravesteyn. It is the head of an old woman of the 
q ps burgher class, with strongly-marked features and a resolute expres- 
sion. She wears a peculiarly-shaped cap of black lace, cut in points, 
and a lawn collar edged with lace, with a necklace of uncut jewels. 
The picture is painted with the greatest solidity and firmness of 
touch, and is as strong in color as a Rembrandt.”—The Collector, 
Sept. 1, 1895. 


92 


ALFRED DE DREUX 
1812-1860 

378 OUT FOR A MORNING RIDE. 
; This French painter became widely known from his 
i pictures of horses and hunting scenes. He also 
3 ih painted a number of prominent Frenchmen on horse- 
; back, including Napoleon III. Canvas. Signed. 
Height, 13 inches; width, 18 inches. 


- THOMAS COUTURE 

~ 1815-1879 

379 ALLEGORICAL SUBJECT. 
Dressed in white, a woman extends her arm about a 
| ae blonde haired boy who stands before her, leaning 
7 aaa against a stone parapet. From her shoulder falls a 
long scarf and in her left arm rests a tall staff. 
Canvas. Height, 16 inches; width, 12% inches. 


ANTOINE VOLLON 
1833-1900 
380 STILL LIFE. 

The great painter of still life has here chosen the 
usual simple objects for his theme, some kitchen 
a utensils, a string of onions and a green jar, but from 
IW these he has produced a picture worthy of his art. 

Canvas. Signed. 
Height, 12% inches; width, 9% inches. 


JULES DUPRE 
1812-1889 
381 LANDSCAPE STUDY. 
It shows a sketch of a field with distant trees in the 
fading light of sunset. Canvas. Signed. 
, Height, 11 inches; width, 18 inches. 


VE Bought at the Dupré Sale in Paris for Mr. Chapman, January 
30, 1890. 


93 


FRANCESCO GUARDI 
1712-1793 


382 VIEW IN VENICE. 


moving procession of figures in the ae ee 
the collonaded palace beyond; across these <a 


Avie 


From the Leavitt Collection, 1884. 


EUGENE ISABEY — 
1804-1886 


383 STREET SCENE. 2 
The old houses of some provincial town in France 


lift their pointed roofs against the sky, while at their 
base booths with a market display are set up about 


Ltod 2, the doors. Through the narrow street but little 
o light penetrates to disperse the deep shadows. Panel. 
Signed. — Height, 21 inches; width, 15 inches. 


(See IHustration) 


EMILE LAMBINET 
1815-1878 


384 LANDSCAPE ON THE RIVER. 


Canvas. Signed. 
Height, 19 inches; width, 28% inches 


jLo- 
JEAN FRANCOIS MILLET 
1814-1875 
385 YOUNG GIRL EATING AN APPLE. 


This study of a young girl is one of the artist’s many 
works drawn from the life of the peasant class, a 
class which Millet loved and which he represented 


ror 94 


- 


lis ee ee ee on y sae 
or oa ee 
aeenanaiee A te See anne eee hm wei me ee 


| ea 
Z 

| ea) 

| O > 
ees 
be § 
Qe 
Elo 
a § 
gel 
sea 

| Ss 
San ea 
Loe) 

| re) 

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with simple pathos and understanding. Canvas. ; ae 
Signed. Height, 22 inches; width, 18 inches. 


Purchased in Havre in 1881 from a family who obtained ‘it 
from the Artist. 


eke 


“Here is a Millet, a peasant girl chewing an apple. Iti is a Millet 
entirely distinct from ‘The Angelus,’ and the rest of what are 
recognized as the painter’s masterworks. But it is a picture of 
record, a bit of nature, and of character, of action and expression — 
grasped, analyzed and fixed upon the canvas by a brain and hand, 
of power.”—The Collector, Sept. 1, 1895. 


THEODORE ROUSSEAU 
1812-1867 
386 THE FARM. 

In a rock-strewn foreground lies a small pond, on the 
edge of which a peasant woman is seen; beyond rise 
ye two tall thin trees with other trees at the left. On 
RO PA\ the horizon at the right, farm buildings are seen 
with smoke rising from a chimney. The rolling 
clouds above break away here and there to anew the 

blue sky beyond. Panel. Signed. 
Height, 11 inches; width, 7 ¥ kes 


FERDINAND ROYBET 
1840- 
387 READY FOR THE MORNING RIDE. 
At the door of a chateau a horse impatiently paws 
the ground while the mistress stands in conversation 
with aman. A dwarf in red dress sits in the saddle, 
a groom holds the bridle and a man with two dogs 
)o < stands by. Canvas. Signed. 
Height, 10 inches; width, 14 inches. 


CORNELIS TROOST 
1697-1750 


388 THE COURTSHIP. 
Panel. Certified by Dr. Hofstede de Groot. Certi- 
ficate accompanies this picture. 
Height, 18 inches; width, 14 inches. 
Lf L on a (See Illustration) 
96 


No. 388. THE COURTSHIP 
By Cornelis Troost 


PROSPER MARILHAT _ 2 

1811-1847 : 

389 ON THE EDGE OF THE DESERT. ee 
Canvas. Signed. Height, 21 inches; width, 25 inch 


WILLIAM ETTY 
1787-1849 
390 THE MORNING GLORY. 
Academy board. Height, 26 inches; width, 20 inches. 


5 Purchased from the late Robert Hoe, in 1891, who bought it in 
} G4 ~ London. Sold at Christie’s in 1858. 


ARTHUR B. DAVIES | 
Contemporary American Painter 
391 AUTUMN LANDSCAPE. ; 
Stretching away to a ridge of hills, the landscape is 
bathed in golden light. An oak tree rises in the fore- 
ground and some pigs wander at will, one with a 
litter of young. Canvas. Signed. 
ga’ Height, 18 inches; width, 30 inches. 


Purchased from the Artist. 


Loud 


BONIFAZIO VERONESE, THE ELDER 
1490-1540 
392 THE VIRGIN AND CHILD WITH ST. JOSEPH 
AND ST. JOHN. 
Against a brocaded scarf which hangs through the 
center of the picture the Virgin is seated holding the 
nude Child on her lap, who reaches out his hand to 
touch the white beard of St. Joseph, standing at the 
left. At the right stands St. John the Baptist holding 
his cross of reeds. A Tuscan landscape fills the 
fae- background. Panel. 
Height, 2234 inches; width, 2834 inches. 


From the Collection of the Earl of Chichester, whence it 
passed to the Collection of Henry Doetsch, Esq., sold at Christie’s, . 
1895; the Catalogue of this Collection was compiled by Dr. 
J. P. Richter. 


98 


JOHN CROME (CALLED OLD CROME) 
1786-1821 


393 AN OLD BRIDGE NEAR NORWICH. 


From an elevation, shaded by a noble old oak, we 
see a wide stretching landscape through which a 
silvery river winds, hemmed by far-away blue hills. 
In the foreground a horseman is seen crossing a 
ia bridge which spans the stream. The sky above is 
“66 filled with dark clouds which clear away toward the 
| horizon revealing a primrose sky. Crome formed 
his style by studying the Dutch masters in land- 
scape. He was fond of the lanes and river banks of 
rural England under moonlight or at sunset, which 
Pues he rendered with richness of tone and truth of draw- 
ie ing. Canvas. Signed. 

Height, 42 inches; width, 33 inches. 
From the Collection of General Mackinnon, sold at Fisher & 


Robinson’s, London. Purchased through J. Ichenhauser. 
Beenie at the Lewis and Clark Exposition, Portland, Ore. S 


SIR GODFREY KNELLER 
1646-1723 


394 PORTRAIT OF WILLIAM LORD RUSSELL. 


The eminent English patriot, who was beheaded 

as when forty-four years of age, is seen at bust length 
and life size, looking directly at the spectator. He 

wears a brown wig which falls about his shoulders 

and a white kerchief is tied at his throat. Canvas. 

Height, 22 inches; width, 19 inches. 


From the Collection of the Hon. Lewis Wingfield, London. 


GEORGES MICHEL 


1763-1843 
395 LANDSCAPE. 
Canvas. Height, 25 inches; width, 32 inches. 
é Kee Purchased in Paris in 1879. 


99 


Wie ns 


E 4 ee a wee 5 < 


SIR JOSHUA REYNOLDS 
1723-1792 
396 CUPID. 
Seen at three-quarter length, the young god stands 
in shadow watching his prey, his quiver is suspended 
at his side by a blue ribbon which hangs from his 
shoulder. A wooded landscape forms the background. 
Canvas. Height, 30 inches; width, 25 inches. 


Recorded in Graves and Cronin’s, “Sir Joshua Reynolds, id 
Vol. III. 


Recorded in Sir Walter Armstrong’s, “Sir Joshua Reynolds.” 


} Aq) 6- Exhibited at the British Institution, 1832. Loaned by George 


Vivian, Esq. 


Exhibited at the Grosvenor Gallery i in 1884. Loaned by Col. 
Vivian. 

Purchased from Col. Vivian’s estate, by Gooden & Fox, © 
London. 

Purchased from Gooden & Fox, by Julius Oehme, who is 
given in both works named above, as owner. 


Purchased from Mr. Oehme by Mr. J. J. Emery, from whom 


it passed to the present owner in 1903. 


“There is shown a ‘Cupid’ by Sir Joshua, handsomely brushed 
and delightful in the cool flesh tones.’—Mr. F. J. Mather in the 
Evening Post, Jan. 24, 1906. 


(See Frontispiece) 


> 


UNKNOWN PAINTER 
Modern French School 


397 WOODLAND LANDSCAPE. 
In a secluded place some nymphs are seen bathing 
p in a woodland pool; dense shadows of the forest 
Wo foreground are strongly contrasted against the prim- 


rose light that fills the afternoon sky beyond. Canvas. 
Height, 45 inches; width, 33 inches. 


SALVATOR ROSA 
1615-1673 


398 A ROMAN SOLDIER. 
Canvas. Height, 23 inches; width, 19% ne 
Fu From the Perigrini Collection, 1884. 


100 


— 


No. 402. ORPHEUS 
By Geraerd Pietersz Van Zyl 


Yo- 


Jae 


fu 


AMBROSIUS FRANCKEN 
1544-1618 


399 THE LAST SUPPER. 


Christ seated at a table, surrounded by the twelve 
disciples, holds a chalice in his hand. In the back- 
ground of the lofty interior rises an altar at the left 
with open book and a lighted candle. 

On the back of the picture is stamped the monogram 
of the artist and the arms of St. Luke’s Guild at 
Antwerp. Panel. Height, 24 inches; width, 18 inches. 


CONSTANT TROYON 
1810-1865 


400 LANDSCAPE WITH GOATS. 


This great landscape and animal painter had a 
special liking for goats, which appear in many of his 
pictures. Born in Sévres, he began his career in the 
porcelain factory of his native town, where he was 
taught to draw flowers; later he took up his residence 
at Barbizon, where, under the inspiration of Rousseau 
and Dupré he began to produce the long line of master- 
works in landscape which remain to his credit. Can- 
vas, relined. Signed. 

Height, 25% inches; width, 21 inches. 


JOHANN HEINRICH TISCHBEIN 
1722-1789 


ULYSSES AND NAUSICA. 


Nausica, the king’s daughter of the famous epic, 
stands in the center of a shaded plateau with her 
female attendants about her, while Ulysses, the 
resourceful hero of the Trojan war, is seen through 
the trees looking on with admiration. A wide-reach- 
ing landscape fills the background. The picture is 
in line with the mythological subjects which the 


102 


Acetate 


German artist loved to paint, and is more in the 
French manner of the Eighteenth Century than the 
German, due to Tischbein having spent five years 
at Paris in the studio of Charles Van Loo. Canvas. 
Signed. Height, 33 inches; width, 26 inches. 


GERAERD PIETERSZ VAN ZYL 
(CALLED GERARDS VAN LEYDEN) 
1606-1667 


402 ORPHEUS. 


Seen at half length, a nude youth with curling hair, 
holding a violin beneath his arm, bends his head 
attentively over a sheet of music held in his hand. 
An intimate friend of Van Dyck, Zyl worked as his 
assistant in London and became a successful imitator 
of his style. In Holland he was called ‘‘The Little 
Van Dyck.” Panel. Signed with initials. 

Height, 25% inches; width, 21% inches. 

Purchased from T. J. Blakeslee, 1891. 
(See Illustration) 


JAN VAN GOYEN 
1596-1656 


403 HARVEST TIME. 


Leading from the foreground, a roadway crosses a 
wide plain, along which passes a man driving a 
cart horse attended by a dog; a group of peasants 
. ee rests at the roadside while over all stretches a charac- 
. teristic Van Goyen sky, filled with masses of rolling 
clouds. Canvas, relined. Signed and dated 1634. 

Height, 35 inches; width, 50 inches. 


This painting has been certified as a genuine work by Dr. 
Hofstede de Groot, and his certificate accompanies the picture 


“Among other old Dutch pictures is a large and notably fine 
landscape by Van Goyen, by whom there are also smaller works 
of character.”—The Collector, Sept. 1, 1895. 


(See Illustration) 
103 


Lege- 


a 


KAREL BORCHAERT VOET 
1670-1745 


404 DOMESTIC FOWL. 


Canvas, relined. Height, 42 inches; width, 39 inches. 


SIR THOMAS LAWRENCE 
1769-1830 


405 LADY HENRIETTA CAVENDISH. 


Wearing a low-cut, red velvet gown, the subject is 
seen seated, resting her left arm on the arm of her 
chair; her dark hair is puffed above her ears and a 
long jeweled chain falls across her shoulders down 
to her waist; on her left wrist is a bracelet containing 
the miniature portrait of a man, and her right hand 
rests in her lap. Canvas. 
Height, 40 inches; width, 33 inches. 
From the Collection of S. Moreau-Chaslon and previously in the 


celebrated Collection of his father, a well-known French connoisseur. 
Purchased in 1888. 


(See Illustration) 


GIOVANNI PAOLO PANNINI 


1695-1764 
406 RUINED TEMPLE WITH FIGURES IN THE FORE- 
GROUND. 
Canvas. Height, 38 inches; width, 29 inches. 


FRANCESCO ZUCCARELLI 
1702-1788 


THE SUMMER STORM. 


The lightning striking a tree has created terror among 
the peasants and caused a team of horses to bolt; 
overhead the trees are tossing their branches in the 
gale. 


104 


HARVEST TIME 


No. 403. 


By Jan Van Goyen 


In his day the reputation of Zuccarelli extended 
throughout Europe and his pictures are to be found 
in all European galleries; he was induced to visit 
London where he spent five years painting decorations 
for the English Opera House. Later he again went 
to England, when he was largely patronized by the 
Royal Family and by the aristocracy in whose collec- 
tions many of his pictures are to be found. Canvas, 

Height, 39 inches; width, 36 inches. 


ANGELICA KAUFFMAN (ATTRIBUTED) 

408 THE THREE GRACES. 
Three female figures are seen standing nude against 
a green curtain, with a crimson mantle falling from 
their shoulders; their hair is dressed with flowers and 


A! _ laurel and flowers strew the ground. Canvas, 
relined. Height, 36 inches; width, 27% inches. 
F. WATTS 


English Painter 


409 VIEW IN SURREY. 

The green of rural England with its red-roofed cot- 

tages embowered in trees, and men plowing in the 

fields, its sluggish streams with boats slowly crawl- 

ing through the locks and its blue sky filled with 
/ wa- snowy clouds is our painter's theme—a theme long 

ago made familiar to the art world by Constable, 

but one of never-ending interest. Canvas. 


Height, 34 inches; width, 48 inches. 
Bought of T. J. Blakeslee, 1888. 


GIOVANNI PAOLO PANNINI 


1695-1764 
410 ROMAN RUINS WITH FIGURES IN THE FORE- 
GROUND. 
3 ge Canvas. Height, 31 inches; width, 40 inches. 


106 


No. 405. 


LADY HENRIETTA CAVENDISH 


By Sir Thomas Lawrence 


Loo 


/§d- 


Ww 


iy a 
mane 
Z oh 


SALVATOR ROSA 
1615-1673 


411 THE STORM ON THE COAST. 


Famous as a painter, a musician and a satirical poet, 
Rosa, though born at Naples, spent most of his career 
in Rome where he gained much success by his land- 
scape and marine views, although he was ambitious 
to be regarded as an historical painter. He is at his 
best in such canvases as these, in which he portrays 
the rocky glens, tumbling cascades, gloomy pools 
and huge rocks of a mountainous country. In his 
marines he loves the storm-tossed waves and skies 
filled with moving clouds. Canvas. 


Height, 37 inches; width, 46 inches. 


From the Leavitt Collection, 1884. 


(See Illustration) 


OTTAVIO VIVIANI 
Italian School, XVIIth Century 


412 ENTRANCE PORCH OF A ROMAN PALACE. 
Canvas, relined. Height, 37 inches; width, 48 inches. 


ANTON ZWENGAUER 


1810-1884 


THE DECLINING DAY. 


This popular Munich landscape painter drew ‘his 
subjects from the Bavarian Highlands, giving special 
attention to evening and sunset effects. For the last 
fifteen years of his life he held an official position in 
the Munich Gallery. Canvas, relined. Signed. 


Height, 26 inches; width, 44 inches. 


Purchased from Mr. Charles Haseltine, 1875. 


108 


eSOy 1OILALS Ag 
LSVOO HHL NO WHOLS AHL 


“TIF “ON 


GASPAR DE CRAYER 
1582-1669 


414 THE FLIGHT INTO EGYPT. 


Born in Antwerp, De Crayer won such popularity 
as a portrait painter that he went to Ghent, to gain 
freedom from the demands on his time, in order to 
give himself up to the religious subjects in which he 
won great renown. 
! Aq a Following the fashion of his time, he has placed the 
} Vv figures of Joseph, Mary and the Child in a classic 
landscape with broken pillars, arches and architec- 
tural ruins shaded by great trees under a splendidly 
luminous sky. Canvas. 
Height, 53 inches; width, 66 BG 


=.4 
ee 


JOHN QUIDOR 
American Painter, 1800-1881 


415 PETER STUYVESANT WATCHING F pares 
ON THE BATTERY. 


This composition shows the Dutch Governor of New 

Amsterdam seated on the right watching the dancing. 

of the young people in the early evening; tall trees 

arch their branches overhead and cast deep shadows, 

ake while beyond is seen the waters of the bay. Although 
‘ys he made other studies of the colonial life of New York” 
under the Dutch dominion, this large canvas was 

the crowning work of this early American painter’s 

career. Canvas. Height, 80 inches; width, 126 inches. 


Purchased from a relative of the Artist. 


(See Illustration) 


110 


1OpIn¢) uyo[ Ag 
AUALLVG AHL NO SHILIAILSHH ONIHOLVM LNVSHAANLS YHLadd ‘SIP ON 


ae 


FIFTH SESSION 


Chinese Porcelains a 
Catalogued by Hon Chester Holcombe . } 
t 


These Chinese Porcelains, which were for many years on exhi- 
bition in the Brooklyn Institute of Arts and Sciences, were bought 
en bloc in 1888 from Mr. W. P. Moore, who acquired them from his 
father, Mr. E. C. Moore, a well-known Collector, who as a member a # 
of the firm of Tiffany & Company, had unusual opportunities “wi N 
for securing fine pieces. 


They were expertized and described by the late Hon. Chester 
Holcombe, for many years Secretary of Legation and acting United 
States Minister at Peking, China. In the special field of Oriental 
Art, Mr. Holcombe was recognized as the Dean of Connoisseurs, 
both in this country and in China. 


“His infallible instinct for what is rare, fine and impressive in 
art has made him a Collector of old Chinese porcelains and Japanese , 
bronzes. The former, for instance, make a ravishing collection of aa 
200 pieces, strongest in solid colors, like the mirror blacks, ashes 
of roses (one unique vase of this rare color), apple-green crackle, 
sang de boeuf and the like. Here is a large mustard-yellow crackle 
vase, the finest I have ever seen; a wonderful tea-green vase, 
with the dragon; a large and noble famille vert vase, with the 
record of a family history; a coral vase of rare beauty, and a 
wealth of the various shades of the green family, so seductive to 
the connoisseur.”—The Collector, Sept. 1, 1895. 


417 WINE CUP. 


Foundation of pottery, is covered with grey glaze 


A = upon which are gracefully wrought three storks 
flying over the waves. Height, 2% inches. 

418 JAR. 
Ge Pottery mainly covered with a thick mirror black 


glaze, with a splash of “‘Flambé” here and there. 
Height, 4% inches. 


419 CUP. 
The body, with a narrow rim, is pottery and is cov- 
7 — ered without and within with extremely brilliant 2 
dark brown glaze. Height, 2 inches. 


112 


“ os ra ahs i ee nad > 
a. ie . 420 VASE. 
se A fine specimen of a Japanese attempt to produce the 
Chinese “‘Flambé” vases. Height, 5% inches. 


1 LONG NECK BOTTLE. 
& Identical with the last. Height, 6 inches. 


422 ‘JAR. 


Of pottery ean by brilliant transparent glaze 
over a green color which is finely decorated without 
eee rsin in white. Has Chinese characters upon 
Seis _ the base, which translated means “‘ Precious product.” 
s ‘ ie = < ' Height, 134 inches. 


~~ 23 JAR. : 
Of pottery base, covered by a brilliant glaze of vary- 


- ing shades of roe fancifully arranged. 
Height, 2 inches. 


424 BOWL. 

A peculiar specimen of commercial porcelain cov- 
ered by a light brown dull glaze upon the exterior 
and a much thicker and finer quality of glaze of 
dark blue upon the interior. Bears a fictitious hall- 
mark in blue characters within blue rings upon the 
bottom. Probably about fifty years old. 

Height, 2 inches. 


~ 425 CUP. 
Of extremely coarse pottery covered by heavy black 
glaze, diversified on one side of the cup by splashes 
of vari-colored glaze fancifully shaped. The entire 
i "iad specimen bears the marks of moulding by the fingers 
“ia . while the paste was still soft. Has the hall-mark of 
the maker, ina circleon the base. Height, 24 inches. 


113 


hi = 


426 


427 


428 


429 


430 HIGH SHOULDERED VASE. 


Of brilliant brown glaze in various shades upon a 
body of coarse pottery. 


Of a comparatively modern period, but the exact 
date cannot be determined. This specimen repre- 
sents the twin fishes which have an important place 
in Buddhist mythology, carefully wrought and cov- 


ered with a copper glaze. Height, 8 inches. 


Of coarse pottery covered with very thin yellow glaze. 
Has the Chinese character for “Meditation” painted 
in white upon each side. 


Height, 3% inches. 


Moulded in pottery to represent a fungus, and cov- 
ered with a thick and brilliant glaze of yellowish — 
Height, 5% inches. 


MEDICINE CUP. 


An agate cup, from which, according to Chinese 
theories, medicines should be taken in order to pro- 
duce the best results for the patient. The body of 
the specimen is of white agate, upon which is carved, 
in bold relief, a peach tree and blossoms, leaves and 
fruit with translucent reddish color. 
one solid piece, shaped and carved according to the 
various colors found in it. Height, 4 inches. 
Period of Tao-Kuang, A. D. 1821. 


Height, 6 inches. i 


> 


431 


432 


433 


434 


435 


436 


BOWL. 


Grotesque in form, the lower half of the body is of 
light grey color with lines and figures drawn in 
brown. The upper portion is coated with a trans- 
parent glaze of pale green. Height, 34% inches. 


STANDARD. 


A rectangular standard or cap which has formed a 
part of a framework of some sort in porcelain, 
covered with a brilliant green glaze. Height, 7 inches. 

Period of Tao-Kuang, A. D. 1821. 


BOWL. 


Of brilliant pea-green glaze over pottery and crackle, 
it has nondescript ornamentation in white under the 
glaze. Upon one side of the vase, incised under the 
glaze, are the Chinese characters which mean “ Per- 
petual Joy.” Height, 234 inches. 


JAR. 
With fine smooth finish, and brilliant glaze of coppery 
red color. Height, 534 inches. 
Period of Tao-Kuang, A. D. 1821. 


BOTTLE. 


A good specimen of comparatively modern com- 
mercial porcelain. Covered by a rich deep blue 
glaze. Height, 6% inches. 

Period of Hsien-Feng, A. D. 1851. 


WATER CUP. 


A piece from the outfit of a writer. Height, 2 inches. 
Period of Chia-Ching, A. D. 1796. 


115 


ea le a See, y~ Pe 
ies art ts ais a 
iS . See 

wees 


Ve 


[4 Wy 


lo 


/y- 


437 GOURD SHAPED BOTTLE. , 
The body is of pottery, finely crackled, covered with a 


pale green glaze, thickly flecked with copper. A 
very unusual and interesting specimen. 

Height, 7% inches. 

Period of Tao-Kuang, A. D. 1821. 


438 SAUCER. 


Of Corean origin and the result of an offort to pro- 
duce Chinese crackle under red glaze. Crudely 


decorated upon the interior in blue. Antique, but — 


exact period uncertain. Diameter, 5% inches. 


439 AGATE MEDICINE CUP. 


A lizard carved in bold relief is made to serve the 
purpose of a handle. Height, 1\% inches. 
, Period of Chien-Lung, A. D. 1736. 


440 VASE. a | 


A rectangular vase of fine peacock blue crackle. The 


glaze is transparent in a high degree and produces — 


the appearance of varying depths of color. Taken 
altogether the piece isan unusually good specimen 
of the later antique specimens of peacock blue. 
Height, 6% inches. Period of Tao-Kuang, A. D. 1821. 


441 JAR. 


This specimen is coarsely decorated under the soze 
in a leaf design. The glaze is thin and brilliant. It 
has a forged and incorrectly drawn Chinese seal 
mark upon the bottom. Corean porcelain of a com- 
paratively early period, but the exact year is uncer- 
tain. Height, 41% inches. 


116 


SASVA NIVTHAOUOd 


ASANIHO GALVUOOUA AO dNOAO 


en ieee) 


r 


Aon eg 


pew 


as 


SI - 


ke 


442 


443 


445 


446 


447 


SAUCER. 
The decoration represents an old man, commonly 
called “Shou,” or Longevity, holding in his hands a 
bat, the emblem of good fortune. 


Diameter, 6 inches. Period of Tao-Kuang, A. D. 1821. 


VASE. 


Of dark green jade with a broad band of conventional 


decorative forms carved in low relief about the body, 


while conventional forms of the head of the Dog Foo 
with rings, adorn the neck. Height, 5% inches. 
Period of Kang-Si, A. D. 1661. 


WINE CUP. 


Moulded in yellow “Liao” without decoration of 
any sort. Height, 134 inches. 
Period of Chien-Lung, A. D. 1736. 


PIGMY JAR. 


The body is pottery decorated with conventional _ 
lions’ heads and rings under the glaze for handles, _ 


and covered with a thick brilliant glaze of greenish 
brown. Height, 53% inches. 
Period of Tao-Kuang, A. D. 1821. 


BOTTLE. 


A masterly specimen of dragon’s blood glaze upon the 
crackle. Though not “Lang Yao,” it belongs to the 
period when the finest specimens of this dragon’s 
blood glaze were produced. Height, 13 inches. 

Period of Cheng-Hua, A. D. 1465. 


CIRCULAR DISH OF DEEP RED GLAZE. 


Of even color and brilliant glaze. (Repaired.) 
Diameter, 73% inches. 


Period of Yung-Chéng, A. D. 1723. 


118 


4 
= 
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s 
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cha: 
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Aa 
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a 
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: 9 
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a 
. 
a 
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te Re 
3 mee 
a 
=> 
; 
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an 


Pia- 


po 


449 


450 


451 


452 


453 


454 


BOTTLE. 


Pigmy bottle covered with a thick glaze of red, so 
dark as to closely approach a copper brown, in which 
are specks of iron rust. Good specimen of its class. 


Height, 5 inches. Period of Tao-Kuang, A. D. 1821. 


BOTTLE: 


This specimen, of uncertain antiquity, has been seri- 
ously damaged by fire. Coarsely decorated with 
figures and a band of flowers in a deep shade of blue. 

Height, 11% inches. Period uncertain. 


BOTTLE. 
Mottled turquoise of a comparatively modern 
period. Height, 5% inches. 
Period of Hsien-Feng, A. D. 1851. 


PORCELAIN BOX. 


Pale olive green glaze with flower decoration incised 
under the glaze and on the cover. 


Height, 3 inches. Period of Tao-Kuang, A. D. 1821. 


VASE. 
A good specimen of powdered black glaze. 
Height, 5% inches. 
Period of Yung-Chéng, A. D. 1723. 
FISH JAR. 
Peacock green glaze covering fine crackle. Good 
specimen of its class. Height, 54% inches. 
Period of Tao-Kuang, A. D. 1821. 
BOTTLE. 


The body of this specimen is of pottery, which is 
covered with a thin metallic glaze of varying brilliancy. 


Height, 9 inches. Period of Chia-Ching, A. D. 1796. 
119 


} 107 


a 


455 PIGMY VASE. 


Pink crackle under a brilliant glaze. This untcnets 


color in the crackle was produced by powdering the 
paste before the glaze was applied, with a fine powder 
of that color, which serves to outline the crackle in 
the process of firing. Very unusual specimen. 

Height, 44% inches. Period of Chien-Lung, A. D. 1736. 


456 CUP. 


This cup is a companion piece to the last and the 
same description applies accurately to it. 
Height, 2 inches. Period of Chien-Lung, A. D. 1736. 


* 


457 EGG-SHAPED JAR. 


This specimen is of pottery covered with a thick, 
brilliant and oily glaze, French grey in color. 


Height, 5¥% inches. Period of Tao-Kuang, A. D. 1821. | i 


458 BOWL. 


A coarsely-made specimen covered without and 
within by pale olive glaze. The attractive feature 
of this specimen consists in the decoration within, 
composed of figures with names attached, of five 
patrons of ancient Chinese literature, incised under 
the glaze, somewhat crudely. The Chinese char- 
acters composing the names are in part defective and 
in consequence, some of them are undecipherable. 
The specimen, though not of high quality, is quite 
rare. Diameter, 7 inches. 


Period of Chia-Ching, A. D. 1796. 
120 


-——-, 


459 JAR. 


A thoroughly unique and to a large extent nonde- 
script jar and cover. The material is wood or vege- 
table of some sort, possibly a fungus, and has a five- 
clawed dragon encircling the base, with head rising 
to the shoulder of the jar, and is most gracefully and 
artistically wrought. The cover, of the same material, 
is surmounted by a begging Buddhist priest in a 
sitting position, holding up his alms’ cup, which is 
partially supported upon a mass of tangled tree 
roots. Upon one side of the body of the vase, the 
name of the artist is cut in the surface, with a state- 
ment that the specimen was made by the maiden 
Hsiang-Lien. A most remarkable specimen. 

Height, 91% inches. Period of Chien-Lung, A. D. 1736. 


460 VASE. 


A good specimen of turquoise blue glaze. 
Height, 5% inches. Period of Tao-Kuang, A. D. 1821. 


461 BOWL. 


Has broadly flaring sides made of Chinese “Liao,” 
which closely resembles glass and bears in touch 
much the same relation to the latter that amber 
bears to agate. The manufacture originated in 
Persia, was carried thence to China, but the art has 
long been lost in both countries. This specimen is 
a monochrome of the color of wine, and is decorated 
within with ornamental forms of the Chinese char- 
acter for happiness, etched upon the bowl. Has the 
four character mark of the Emperor Chien-Lung, 
cut in low relief upon the bottom. A specimen of 
this ancient art of this size and quality is very rare. 


Height, 8 inches. Period of Chien-Lung, A. D. 1736. 
121 


462 VASE. 


A rectangular ovoid vase of lapis lazuli. Very rarely — 


found in Chinese art objects. Carved in low relief 

/ St on base and neck with leaves conventionally arranged, 
and upon either face of the body with an archaic 

form of the Chinese character “Shou,” which means 

. Longevity. Height, 8% inches. 

Period of Chia-Ching, A. D. 1796. 


463 JAR. 
A marvelous specimen of brilliant apple green glaze 
over white crackle. For perfection of finish and 
brilliancy of glaze, the piece is without a superior. 


“4a 0— Height, 6 inches. Period of Chéng-Hua, A. D. 1465. 
464 VASE. 
A superb specimen of ashes of roses in color, with a 
soft yet brilliant glaze. Height, 7% inches. — 
i nes Period of Kang-Si, A. D. 1661. 


465 WATER JAR. 

This piece represents a water bottle carried by the 

soldier of the period, and hence is provided with 

three porcelain rings by which it may be suspended 

Me over the shoulder. This specimen is covered with a 

N a glaze of slate color upon a pottery foundation, upon 
which has been laid a thin glaze of red with the 

curious effect as seen. ‘This specimen does not 

belong to the ‘‘Flambé” class, but the mottled design 

ending in greyish green about the vase was intended. 


Height, 6 inches. Period of Chien-Lung, A. D. 1736. 
122 


i 
* 


2 eeeer 


GROUP OF CHINESE PORCELAINS OF SINGLE COLOR 


hy - 


fia 


la- 


Ges 


466 


467 


468 


469 


470 


BOTTLE. — SSaoe 


A fair specimen of chicken’s blood glaze. Paste is # 


of a high quality, but the glaze is too thin to give _ 
richness of color. Height, 9 inches. — 


Period of Yung-Chéng, A. D. 1723. = 


JAR. 
Ruby glaze upon fine crackle, the glaze being more 
than ordinarily translucent. The effect of such a 
glaze on such a surface is to produce a mottled 


appearance. A fine specimen of its class. 
Height, 5 inches. Period of Chia-Ching, A. D. 1796. 


BOWL. 


A good specimen of dark red glaze without and 
within. Bears the hall-mark in six characters of 
Chia-Ching of the Ming Dynasty (A. D. 1522), but 
in fact belongs to his later namesake Chia-Ching 
(A. D. 1796). Height, 31% inches. 

Period of Chia-Ching, A: D. 1796. 


VASE. 


Of dragon’s blood glaze, though not ‘‘Lang-Yao.” 
Period unquestionable. Specimen perfect. Has six 
character mark of the Emperor Kang-Si on the 
bottom. Height, 434 inches. 
Period of Kang-Si, A. D. 1661. 


JAR. 
A thick, hard and extremely brilliant ruby glaze with 
slightly clouded effect upon a hard paste. A fine 
and extremely showy specimen. Height, 6% inches. 
Later Ming Period (16th Century). 


124 


=P 8 ee ee ee ee — gS “1. 
A oa 4 . 2 t 7 


a 471 BOTTLE. 
= Chicken’s blood glaze over coarse crackle, in varying 
thickness upon a thick, hard paste. A good specimen 
of that glaze of the Chien-Lung period, which was 
less distinguished in productions of this class than 
in other branches of the Ceramic Art. 

Height, 5% inches. Period of Chien-Lung, A. D. 1736. 


: 7 472 VASE. 

An excellent specimen of what is known as chicken’s 

blood glaze. Has a fine but heavy paste and a 

brilliant glaze of the true shade of color and is with- 

out defect or flaw of any kind.  _ Height, 9 inches. 
. Period of Yung-Chéng, A. D. 1723. 


473 PIGMY JAR. 


An exquisite specimen of orange yellow tile glaze 
decorated in color under the glaze in brilliant green. 
Finely incised with Grecian pattern in diaper work 
and in other designs upon the body of the paste 
under the glaze. The piece is one of a set and bears 
finely incised, under the glaze of the bottom, the 
name of one of the halls in the Imperial Palace of 
that period, which indicates where it was intended 
to be used. Height, 4% inches. 

Period of Chien-Lung, A. D. 1736. 


474 BEAKER-SHAPED VASE. 


A brilliant specimen of dragon’s blood glaze over 
medium crackle. This piece is exquisitely smooth 
to the touch, the glaze is true in tone and of great 
brilliancy and the specimen, as a whole, belongs to 
the highest grade of its class. 

Height, 614 inches. Period of Kang-S1, A. D. 1661. 


125 


475 JAR. 
A fine specimen of old Ming crackle. The body of — 
the jar is white, browned by age. Decorated with 
the Phoenix, the crest of the Empress of China, so 
arranged as to form a circle. Around the base and 
top is a further decoration in old blue of conventional — 
4“ design. The cover has upon its cap an archaic form 
of the Chinese character which means happiness. 
The specimen is in a complete state of preservation 
and bears on the bottom the four character hall- 
mark of the Emperor during whose reign it was 
produced. When its age is considered, the specimen — 
is rare. Height, 6 inches. 
Period of Chéng-Hua, A. D. 1465. 


476 FLOWER BOTTLE. 


This specimen, decorated in conventionalized flowers 
of the deeper blue and white, is composed of five 
small flower jars moulded together, having a slender 
neck as a common center, the purpose being to use 
hice the six compartments into which it is thus divided as | 
a common holder for cut flowers. Colors. are good 
and the glaze brilliant. Height, 11 inches. 
Chia-Ching Period, A. D. 1796. 


477 VASE. 


A good specimen of coarse white crackle under glaze, 

decorated with bands of dark brown of Grecian 

pattern, also with waves of the sea, flowers, and 

leaves, and with conventional forms of the head of 

the Dog Foo in bosses for handles. Has the four 

ys S 4 character mark of the Emperor Chéng-Hua of the 
Ming Dynasty, etched in dark brown upon the 
base. Specimen, however, is of the later period 

named. Height, 8% inches. 

Period of Chia-Ching, A. D. 1796. 


126 


478 BOWL. 

The exterior decoration consists of dragons sporting 
in the waves of the sea, in varying shades of blue. 
P- The interior rim has a broad band of blue arranged 
E in scrolls, and the hawthorn flower in white. In the 
= } “a bottom of the interior of the bowl is represented a 

mythological story of a fish which sprang from the 

water and spouted from its mouth a demon which 

bore the shape of a Cicada. The dragons bear the 

four claws which represent the crest of the Ming 

oF Dynasty. Diameter, 8 inches. 

x : Period of Chien-Lung, A. D. 1736. 
479 VASE. 

This specimen is commercial porcelain of the period 

named. Decorated in varying shades: of blue with 

flowers arranged in panels, separated by smaller 

id panels of diaper work in a paler blue and small 

medallions, each containing a single flower, encircling 

the neck, which is further decorated with a band of 

flowers and bands of lines. The base is similarly 

treated. Height, 8% inches. 

Period of Kang-Si, A. D. 1661. 


480 BOX. 
A good example of the deeper blue of the period 
named, shown in the decoration which consists of 
ai flowers, fruits and conventional leaves. 


Height, 3% inches. Period of Yung-Chéng, A. D. 1723. 


481 VASE. 

Originally a vase having a long slender neck; the 

upper portion has been broken off and what remained 

was ground to its present shape. Entirely covered 

with flower decoration arranged in circular medal- 

- lions. The glaze is fine and brilliant and all the 
different shades of what is known as old blue may 

be seen upon the surface. Height, 3% inches. 

Period of Chia-Ching, A. D. 1796. 


127 


fa- 


I36- 


482 


483 


484 


JAR. 


A beautiful specimen of decoration in color and gold _ 
leaf upon a brilliant mirror black glaze. The speci- 
men is exceedingly unusual in this—the color decora- 
tion is applied directly upon the paste while the 
decoration in gold used with the color decoration is 
applied upon the glaze. A unique specimen of the 
Ceramic Art. The decoration is peculiar in another 
respect since it consists of fruits, flowers and 
vegetables. Height, 15 inches. 
Period of Yung-Chéng, A. D. 1723. 


BOTTLE. 


A very graceful specimen with long slender neck. 
Rich powdered blue glaze, elaborately decorated in 
gold leaf. The decoration is peculiar, indicating 
that the specimen was specially designed for the 
domestic apartments of the Emperor and Empress 
of China. Thus it bears upon the body, the Dragon 
which is the crest of His Imperial Majesty, and 


the Phoenix, which is the crest of the Empress, these —— . 


figures never being seen in decoration of any sort 
excepting when intended to be used in apartments 
which they share together. Height, 173% inches. 

Period of Kang-Si, A. D. 1661. 


PITCHER. 


The form of this specimen is graceful and the paste 
of fine quality, semi-eggshell, with a thin metallic 
but brilliant glaze. The lustre seen upon the surface 
is the result of excessive heat in the kiln, and the — 


piece furnishes an interesting illustration of the 


unexpected result which not unfrequently happens 
in the process of manufacture of fine porcelain. 


Height, 5 inches. Chien-Lung Period, A. D. 1736. 
128 


485 BOTTLE. 


A fine specimen of powdered blue glaze, decorated 
upon the glaze in gold leaf with conventional chrysan- 
themums and the wheel of the law, one of the eight 
precious symbols of Buddhism. One form of it is 
seen upon the lower part of the body of the vase, 
while another form can be seen faintly decorating the 
upper part of the neck. The powdered blue glaze of 
this specimen is particularly fine, both in depth of 
color and evenness of distribution. The base is 
finished with a peculiar rim found upon pieces of the 
Kang-Si period. Height, 10 inches. 

Period of Kang-Si, A. D. 1661. 


486 BOTTLE. 


Rich sapphire blue glaze, decorated with conven- 
r tional flowers and leaves arranged in circles and 
bands. A very fine specimen of this style of decora- 
tion in the Chien-Lung period. Height, 18 inches. 
‘ez Period of Chien-Lung, A. D. 1736. 


487 POTTERY VASE. 


This specimen represents a conventionalized form 
of the lotus bud, the outer leaves of which are 
outlined in low relief on the body, while the flaring 
lip is marked with the immature seeds as they appear 
[sev in the actual cup which forms the center of the flower 
as they first make their appearance, when forcing 
their way above the surface. Good specimen, with 


a fine mottling of color. Height, 6% inches. 
Period of Yung-Chéng, A. D. 1723. 
129 


488 VASE. 


Gourd shaped, fine mirror black glaze, decorated with 
gold leaf upon the surface. The main feature of the 
decoration consists of three landscapes, in one of 
which two fishermen are seen on the edge of a stream 
under an oak tree. In the second is seen the roof of e. 
a pavilion in the midst of trees and flowers; in the ~ >: 
third, a stream with trees and reeds upon its banks, 
and deer in the water. Other decorations in bands 
complete the piece. The bottom rim is finished in 
that peculiar manner characteristic of the finer 
specimens of the porcelain of the Kang-Si reign. 
Height, 8 inches. Period of Kang-Si, A. D. 1661. 


489 JAR. 
A good specimen of the more modern Flambé. The 
glaze is thinner than that used in the earlier periods 
of the production of this decorative style and, for | 
that reason probably, the result is less striking. 
Height, 8 inches. Period of Chia-Ching, A. D. 1796. 


490 VASE. 


This specimen is exquisite in shape, of especially good 
quality of paste, with a smooth and brilliant glaze. 
While the piece belongs to the Flambé class, its 
peculiarity of decoration is the result of no accident, 
but of a high degree of skill and what is almost more 
than a scientific knowledge of methods of prepara- 
tion of the glaze for the application of heat in the 
kiln, which produced the marked and striking com- 
binations of colors found in this specimen. 


Height, 7 inches. Period of Yung-Chéng, A. D. 1723. 
130 


eo 492 BOTTLE. 


ba- 


491 SNUFF BOTTLE. 


A unique and valuable specimen of the tiny porcelain 
jars largely used among Chinese gentlemen as snuff 
bottles. The entire surface of the specimen is carved 
in the paste in bold relief with sea waves in dark 
green upon which floats a fairy boat, in colors, while 
various Chinese genii are represented sailing on 
clouds or standing upon rocks in the midst of the 
sea. The whole is intended to represent a well- 
known Chinese fairy tale. Written upon the glaze 
on the bottom of the bottle are the two Chinese 
characters ‘‘Yuan Yu,” which translated means “‘A 
perfect gem.” Height, 234 inches. 
Period of Kang-S1, A. D. 1661. 


Brilliant mirror black glaze decorated in gold leaf 
upon the glaze with a tree, flowers, birds, and butter- 
flies. Decoration graceful and artistic. Fine quality 
of paste, glaze soft and yet brilliant. This piece is a 
fine specimen of Ceramic Art of the period of the 
Emperor whose seal mark in six characters is found 
upon the bottom. Height, 15 inches. 

Period of Yung-Chéng, A. D. 1723. 


493 JAR. 


Lf- 


A deep rich glaze on pottery vase. An exceptionally 
brilliant and fine specimen of what is known as 
Flambé. What was intended to be shown in this 
specimen cannot be known, but the result of the 
firing in the kiln is exceedingly effective. 


Height, 11 inches. Period of Kang-Si, A. D. 1661. 


494 VASE. 


/h- 


Rectangular in shape with undeveloped handles. 
A good quality of paste covered by a rich brown glaze 
intentionally thinning to a lighter shade at the 
joining points of the different sides. 


Height, 7 inches. Period of Chien-Lung, A. D. 1736. 
131 


/o- 


St 


au 


495 CUP. 


496 BOTTLE. 


497 VASE. 


498 VASE. 


- Art. No finer specimen of sapphire blue, it is safe ™ ) 
¥ 


th th 


This specimen is a drinking cup, having pure white — 
glaze within, finished with a brilliant mirror black 
glaze without, upon which may be seen remains of 
decoration in gold leaf, a bird resting upon a limb 
being the only part which remains decipherable. ~~ gl 
Height, 44% inches. Period of Kang-Si, A. D. 1661. 


A massive porcelain base covered with a thick glaze 
of pale grey and splashes of deep rich blue. Glaze 
even, smooth, and above the average in quality. 


Height, 5¥2 inches. Later Ming Period (16th Century). 


The paste has been moulded into gourd shape which — 
is covered by coral glaze, clouded and shaded down 
in tone until, at certain points of the surface, the 
specimen is almost pure white. This style of deco- _ “4 
ration renders the piece essentially unique in char- Ww 
acter and adds greatly to its beauty. It has a 
smooth, even paste of high quality and a perfect 
glaze. Height, 7 inches. — 
Period of Yung-Chéng, A. D. 1723. 


A matchless specimen of a deep sapphire blue glaze INS 
for which the reign of the Emperor named was 
remarkable, and this specimen may be taken as an 
example of the highest type of perfection in color 
reached at the Imperial Porcelain Factory during 
the reign of that distinguished patron of the Ceramic 


to say, can be found. Height, 10% inches. © 
Yung-Chéng Period, A. D. 1723. 


132 


499 


500 
Le 


501 


503 


JAR. 


Octagonal in shape, decorated in various designs, 
finely incised under the glaze, which is of thin but 
extremely brilliant peacock green. The specimen is 
peculiar in this respect. It is commercial porcelain 
and bears upon the unglazed bottom, cut in the 
paste, the name of the private factory where it was 
manufactured. The Commercial Porcelain Works 
of Tsao Ran were widely known for the excellence 
of their products at the time when this specimen 


was manufactured. Height, 414 inches. 
j Period of Chien-Lung, A. D. 1736. 


BOTTLE. 
Turquoise blue glaze. Height, 5% inches. 
Period of Chia-Ching, A. D. 1796. 
VASE. 


Cylindrical vase with broad flaring lip, covered with 
powdered blue glaze. Similar to the last piece, 
though of slightly inferior quality. 

Height, 9% inches. Period of Kang-Si, A. D. 1661. 


JAR. 
Another fine specimen of the mirror black produced 
during the reign of this monarch. For smoothness 
to the touch and intense brilliancy of color, this 
specimen has few superiors. Height, 4 inches. 


Period of Yung-Chéng, A. D. 1723. 


VASE. 
This specimen is high shouldered, has a slender neck 
with flaring mouth and is covered with a powdered 
blue glaze. This peculiar effect is produced by 
blowing through a slender bamboo tube, across the 
end of which is fastened a fine silk gauze, powder 


133 


/3- 


VA 


504 JAR 


505 VAS 


506 JAR 


507 VAS 


of the color named, while the paste is still wet; the 


whole is then covered with transparent glaze. The — 


specimen bears all the earmarks of the Imperial 
Factory during the reign of the Emperor Kang-Si, 
though it fails to bear the hall-mark of that period. 
Height, 10% inches. Period of Kang-Si, A. D. 1661. 


- 


This specimen resembles, and yet is not to be included 
in, the so-called Flambé specimens of glaze, and is 
peculiar in the fact that while the entire body of 


the specimen is covered with a dark greenish brown ~ 


glaze inclining to black, the bottom is covered with 

lavender glaze. Height, 6% inches. 
Period of Chia-Ching, A. D. 1796. 

E. 

A marvellously fine specimen of the most brilliant 

peacock green glaze. The piece is without other 

decoration than its own soft and yet brilliant color. 


Height, 6 inches. Period of Chien-Lung, A. D. 1736. 


a brilliant pale green glaze. The only ornamentation 
is seen on one side and consists in a Chinese sleeve 
dog which has scrambled up the side of the jar in 
an effort to discover what is within. 


Height, 4 inches. Period of Chia-Ching, A. D. 1796. 


E. 
Has a long slender neck with rings about the body, 
the neck, and the lip under the glaze. The latter is 
applied with apparent carelessness upon the paste 
in order to secure shades of color upon the specimen 
varying from intense mirror black to several shades 
of brown. Height, 7% inches. 
Period of Yung-Chéng, A. D. 1723. 


134 


A low jar covered with fine crackle in the paste and 


508 


509 
? Ie- 
a 510 
19S - 
511 
| a 
| 512 


Ca- 


BOTTLE. 


A specimen of fine crackle covered by a brilliant 
apple green glaze. An excellent specimen of that 
species of glaze. Height, 6 inches. 

Period of Kang-Si, A. D. 1661. 


VASE. 


Decorated about the neck by various lines and scol- 
lops, and having elephant head handle. A brilliant 
mirror black glaze is so laid on as to fade into shades 
of brown about the neck and the flaring lip. This 
method of application of the glaze was intentional 
and adds greatly to the beauty of the specimen. 

Height, 15% inches. Period of Chien-Lung, A. D. 1736. 


BOTTLE. 


A specimen of apple-green glaze over fine crackle. 
Height, 151% inches. Period of Kang-Si, A. D. 1661. 


VASE. 
A most perfect and splendid specimen of the famous 
mirror black glaze of the Ming Dynasty, free from 
flaw or defect. Height, 12% inches. 
Period of Chia-Ching, A. D. 1522. (Ming.) 
BOTILE: 


Fine even paste covered by an oily glaze almost 
devoid of brilliancy, of apple-green color. The fine 
quality of the porcelain may be seen in the lightness 
of weight in the specimen. Height, 9 inches. 
Period of Yung-Chéng, A. D. 1723. 
VASE. 

High shouldered vase of black oily glaze, less brilliant 
than the one last described, but a good specimen of 
the softer glaze of the Kang-Si period, free from 
blemish. Height, 18 inches. 
Period of Kang-Si, A. D. 1661. 


135 


Bt EON TS ea eet 
Lies pe ee 
ae ire 


he 


Xe 


Jo- 


Ba CaNyg eek ee 
a Pla Nee ‘ 


514 


515 


516 


517 


518 


INCENSE BURNER. 


Of pottery covered with light brown glaze. Was ae 
made and has been used, not fora Buddhist Temple, =» — 


but before the Shrine of Buddha in some Chinese 
family. Height, 3 inches. 
Period of Chia-Ching, A. D. : 796. 


VASE. ae 

A specimen of commercial porcelain of the period 
named. The body is covered with a rough decoration 
incised under the glaze, which is of a transparent 


olive green. Height, 7 inches. 
Period of Yung-Chéng, A. D. 1723. 


JAR. 


A remarkably fine specimen of brilliant copper glaze, 
without flaw or defect. Height, 7% inches. 
Kang-Si Period, A. D. 1661. 


VASE. 


Of hexagonal shape, having coarse crackle in the ~ 
vase, covered with pale green glaze, purposely lacking 
at the angles which mark the various panels of the 
piece. Height, 9 inches. 

Period of Chia-Ching, A. D. 1796. 


FLOWER JAR. 


An ancient specimen of pearl grey glaze, the brilliancy 
of which has not deteriorated from old age. While 
it is impossible to determine exactly the date of this _ 
specimen, it probably belongs to the reign of Wan-Li, 
who ruled from A. D. 1573 to A. D. 1629. Few 
specimens of the Ceramic Art were produced during 
the closing and stormy years of the Ming Dynasty. 
Height, 6% inches. Later Ming Period (16th Century). 


136 


SAN TSAI CHINESE PORCELAIN VASE OF THE 


a2. 


oO 


N 


KANG-SI PERIOD 


re 


Yw- 


J) Ls0- 


521 JAR. 


519 CYLINDRICAL VASE. 


A brilliant olive-green glaze on a pottery body, having __ 


a coarse crackle. As is not unusual in pieces of such 
antiquity, spots are left where the glaze failed to 
cover the entire body of the paste. When its great 
antiquity is borne in mind, this specimen is unusually 
perfect. Height, 84% inches. 

Period of Wan-Li, A. D. 1573. 


520 BOTTLE-SHAPED VASE. 


A choice specimen of ground tea glaze. Has a slightly 
flaring mouth and a lizard in exceedingly high relief 
resting upon the shoulder of the bottle and stretching 
to the neck. The specimen is true to type in every 
respect and lacks nothing which might detract from 
its high value as an example of this class of antique 
Chinese porcelain. Height, 11 inches. 

Period of Kang-Si, A. D. 1661. 


An unusually fine specimen of French grey. This jar 
bears a leaf ornamentation in low relief under the 
glaze at the base, a perfectly wrought band in Grecian 
pattern in low relief about the neck and has also dogs’ 
heads and rings upon the neck. Perfect specimen in 
every detail. Height, 12¥% inches. 
Period of Chien-Lung, A. D. 1736. 


522 VASE. 


This mammoth vase belongs to the class known as 
the “San Tsai” or three-color specimens of Chinese 
porcelain. While there are apparently more than 
three colors used in the decoration, under the Chinese 


138 


system of color arrangement, they are all reducible 
to three primary colors—hence this characterization. 
The colors are of those peculiar shades and that 
vividness in tone which mark all porcelain decoration 
of this sort in the Kang-Si period, and set them apart 
in a class by themselves. The decoration in this 
specimen treats of an ancient period in Chinese 
history and of events which then took place, though 
they are largely traditional. The most peculiar bit 
of decoration upon the specimen consists of a four- 
clawed dragon having a substantially human face 
painted upon the neck of the vase, while one of the 
ancient worthies of China is portrayed as riding 
upon his back. The red sun is portrayed rising among 
mountain peaks and clouds, upon the flaring lip above. 
The famous mythical Dog Foo is seen near the base, 
mounted by another worthy. Near him is a tiger 
ridden by a semi-nude member of a barbarian tribe 
having a collar of peculiar design in green, showing 
the dependency of his nation upon China. This 
personage is intended to signify India. The elephant 
and the unicorn, each ridden by a member of a race 
differing from the Chinese, follow in the train. Near 
the base of the piece is a youth, unmistakably not a 
Chinese, who has gone to sea in a bowl, and near 
him stands still another foreigner who made a similar 
venture upon the lotus leaf. He has lost one of his 
shoes overboard, and is endeavoring to fish it out 
of the water with a shepherd’s crook. The entire 
decoration is quite unusual in vases of this class and 
extremely interesting. The specimen is flawless and 
without defect, which is rare indeed when one con- 
siders its age, size and the extreme difficulty found 
in retaining such a specimen for so long a_ period 
of time unbroken. Height, 40 inches. 

Period of Kang-Si, A. D. 1661. 


(See Illustration) 
139 


Sasi 


Lo 


523 STATUETTE. — 


When the Catholic missionaries first entered China 
and succeeded in securing converts to their faith in 
considerable numbers, the alarmed Buddhists thought 
it advisable to add certain features to their religion. 
They, therefore, provided a Hell, hitherto unknown 
in Buddhism, and as a rival to the Virgin Mary, added 
to the list of Buddhist worthies, a Goddess of Mercy. 
This specimen represents that female divinity. She 
has risen from an expanded blossom of the lotus; 
a gourd developed from an opening lotus bud rises 
by her side, and a dove resting upon a lotus leaf is 
on the other side. The gourd represents fecundity 
and the dove, peace. In one hand is seen a 
pomegranate, which represents abundance, while 
the other hand is raised in the attitude of blessing. 
The hood of maternity is drawn over her head. Close 
inspection will show a Chinese character in the 
antique form, meaning “‘happiness,” upon the border 
of this hood. Height, 534 inches. 
Period of Tao-Kuang, A. D. 1821. 


524. MEDICINE CUP. 


The Chinese have long maintained the superstition 
that purity of material and certain peculiarities of 
form of the cup from which medicine was taken 
would add greatly to the efficacy of the dose. This 
specimen is of very thin paste and has a heavy glaze 
possessing a high degree of purity. The oval-fluted 
form is one much used in cups intended for this pur- 
pose. It is entirely devoid of ornament, excepting 
a sentiment etched upon one side and quoted from — 
an ancient Chinese writer. Translated into English, 
the sentiment runs, ‘‘Purity of mind and body is 
productive of long life.” Height, 2 inches. 

Period of Kang-S1, A. D. 1661. 


140 


No. 526. EXQUISITE CHINESE PORCELAIN PEACH BLOW VASE 
WITH GREEN DRAGON ON THE NECK. YUNG-CHENG PERIOD 


525 VASE. 


(ui- 


Of square body with a cylindrical flaring neck and 
lip. This specimen is without decoration, of thick 
solid paste and a brilliant glaze of mustard yellow 
crackle—a faultless example of a lost art. A com- 
panion to this piece will be found only with great 
difficulty. Height, 1934 inches. 

Period of Chien-Lung, A. D. 1736. 


526° VASE. 


Jsvo- 


An exquisite and unique specimen of the famous 
peach-blow porcelain. This shade of color can no — 
longer be produced, the art being lost. It is now 
only known that in ancient times the principal ingre- 
dient in its production was gold. The specimen is 
of the finest and most exquisite shade of the color 
named and is unique, in that it bears twining about 
the neck of the vase and resting upon the shoulder, 
moulded in bold relief, a dragon of a peculiar shade — 


of green which also was produced from the same 


ingredients under slightly different conditions. This 
rare specimen bears upon the bottom the six character 
hall-mark of the Emperor during whose reign it was 
produced such as is. invariably found upon all 
genuine specimens of its class. With gold lip band. 
Height, 914 inches. Period of Yung-Chéng, A. D. 1723. 


(See Illustration) 


527 WINE CUP. 


Jo- 


The paste of this specimen is semi-eggshell and so 
pure as to be almost transparent. While the specimen 
bears the six character mark of Tsung-Kwang of the 
Ming Dynasty, A. D. 1644, it in fact belongs to the 
period given below. As has been already noted, it 


was quite the custom of the earlier periods of this. © = - 


Dynasty, even at the Imperial Pottery Works, to 
142 


528 


529 
5_ 
530 
/§- 
531 


/ao- 


mark pieces then produced with the title of those 
Emperors of the Ming Dynasty, whose reigns were 
characterized by the production of the finer speci- 
mens of the Ceramic Art. Diameter, 2% inches. 

Period of Yung-Chéng, A. D. 1723. 


BOTTLE-SHAPED VASE. 


An excellent specimen of what is known as the ground 
tea glaze, which is smooth and oily, but possesses very 
little lustre or brilliancy. The specimen bears the 
six character seal mark of Chéng-Hua of the Ming 
Dynasty, A. D. 1465, but in fact belongs to the 
period noted below. The characters forming the 
seal mark are noticeable as being even more archaic 
than those usually drawn. Height, 16 inches. 

Period of Kang-Si, A. D. 1661. 


CUP. 


Square in form, with corners reéntrant. A very fine 
specimen of a pure white porcelain without decoration, 
of the period named, which was especially strong in 
specimens of this class. Height, 234 inches. 

Period of Yung-Chéng, A. D. 1723. 


VASE. 


Rectangular vase, of fine mustard yellow crackle, 
with heavy dogs’ heads. Crackle is unusually fine 
and even. Height, 9 inches. 

Period of Chien-Lung, A. D. 1736. 


This is a specimen of the famous and now extremely 
rare larger jars of blue and white hawthorn, with 
original cover complete. These jars were most large- 
ly made during the reign of the Emperor Kang-Si 
in the Imperial factories located near the center of 


143 


Js 


the Empire, at Ching Te Chen, where they still ot " 


When completed, these were sent to the southern __ 


portions of the Empire, notably to Canton, where 


they were filled with various delicacies and then sent 


to Peking, their contents being intended to tickle 
the palate and please the taste of the members of the 
Imperial family. The smaller specimens, comprising 
what are known as ginger jars, were used for the same 
purpose; the finer specimens of either these larger or 
the smaller jars were made during the reign of chee? 
Emperor Kang-Si. This piece lacks nothing to make 
it an excellent specimen of this class of porcelain, 
and it is rare indeed to find a specimen so completely 
without crack, or other defect. Height, 17 inches. 
Period of Kang-Si, A. D. 1661. 


532 JAR. 


Of brilliant lemon glaze free from all decoration and — 
bearing upon the bottom a finely incised six character 
seal mark of the Emperor during whose reign it was 
manufactured. Without flaw or defect, save a slight 
scratch in the glaze. Height, 94% inches. 
Period of Yung-Chéng, A. D. 1723. _ 


a 
oy 


533, WATER CUP. 


This water cup is one of a set of four or five pieces 
which constitute the outfit of a Chinese scholar, and 
has evidently been in active service. It is of semi- 
eggshell porcelain covered with mustard yellow glaze 
of exceedingly good quality. The piece will bear 
close inspection and evidently belongs to the period 


of the distinguished monarch to whom it is attributed, ~~ 


during whose reign the finest known specimens “of 
this peculiar glaze were produced. 


Diameter, 3\%4 inches. Period of Kang-Si, A. D. 1661. 
144 


Fal 


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Tap hart te aise 0h pees eh Ga ea a: 
yi = wid n or £3 eo 25 ye - J nue 


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534 


W- 


535 


536 


VASE. 


This is a specimen of pottery rather than porcelain, 
and evidently belongs to the very earliest known 
period in the use of Celadon glaze, which in turn is 
the earliest style in color of glaze known to have 
been used in China. The piece is unique in every 
characteristic, the glaze being thick and heavy and 
failing to cover the paste at all points. The design 
is peculiar, the swelling of the lower portion of the 
body being fluted. That is followed by a broad band 
of a conventionalized floral pattern in low relief, 
while the upper half of the specimen is octagonal 
in shape and divided into two sections. The whole is 
finished with conventionalized fish handles and a 
narrow band around the mouth in Grecian pattern. 
The glaze is brilliant and still appears fresh though of 
extreme age. The specimen probably belongs to 
either the Yuan Mongol Dynasty, A. D. 1279-1398, 
or to a period even earlier than that, the Southern 
Sung Dynasty, A. D. 1127-1279. Height, 8% inches. 


Peculiarly brilliant lemon yellow glaze. Fine paste, 
closely resembling the egg shell variety. Has no 
decoration. Height, 7 inches. 

Period of Yung-Chéng, A. D. 1723. 


RECTANGULAR VASE. 


Though bearing the six character seal mark of Chia- 
Ching, painted in coral upon the glaze at the base 
of the vase, it unquestionably belongs to the period 
of the son of Chia-Ching, who succeeded him upon 
the throne. The specimen bears two bands of Greek 
fret in low relief under the glaze, one about the 
narrowest part of the neck, and the other just above 
the standard which forms the base. It is further 


145 


/ 6o~ 


b 


L 


decorated by the figures of Chinese boys in full relief, 


engaged in the performance of gymnastic feats, 


upon the corners of the specimen. Three of these 
youngsters have climbed half way to the top of the 
vase, where one has seated himself, and his face 
indicates a feeling of great satisfaction at his bravery. 
Another has started to continue his journey to the 
top, while a third has been dashed headlong and 
broken to pieces. Another youth has seated himself 
at the base of the ring of the specimen, where his 
shoulders form a stepping-stone for a fellow who is 
making use of his shoulders, and perhaps intending 
to follow that, by placing his foot upon the youth’s 
head in his efforts to climb to the ledge which en- 
circles the specimen half way from the base to the 
top of the ring. Unfortunately, this lad’s ambition 
has cost him his head. Height, 9 inches. 

Period of Tao-Kuang, A. D. 1821. 


537; VASE. 


538 VASE. 


A fine specimen in cylindrical form, with flaring lip, 
of the blue and white of the later Ming Dynasty. 
The decoration is composed of flowers arranged in 
panels and narrow bands, also of flowers. The glaze 
is brilliant and the colors good. This specimen is 
not from the Imperial Potteries, but was manufac- 
tured at a private pottery of great reputation in the 
period named, which adopted a leaf as a hall-mark. 
Specimens from this pottery were, and are, hardly 
less in demand than those which came from the 
Imperial kilns. Height, 23 inches. 
Later Ming Period (16th Century). 


Ornamented with leaf band about the base, the neck 


terminating in a bulb, having incised lines which . 


terminate in another incised line about the neck. 

A beautiful and perfect specimen of lavender glaze. 

Height, 644 inches. Period of Yung-Chéng, A. D. 1723. 
146 


Lssd < 


541 VASE. 


539 VASE. 


The piece is gourd shaped, of pale yellow glaze, 
decorated in blue. The decorations consist of a 
conventional dragon, and five of the eight precious 
symbols of Buddhism. This specimen has the leaf 
mark upon the bottom as already described. 

Height, 84% inches. Later Ming Period (16th Century). 


540 BOTTLE. 


A large bottle of dragon’s blood glaze belonging to 
the Chéng-Hua period of the Ming Dynasty, a period 
when the production of monochrome specimens of 
a single color reached its highest perfection in China. 
Upon the whole, the sacrificial red vases produced 
during the reign of Chéng-Hua may be ranked as 
the best. 

The factory for the manufacture of porcelains with 
dragon’s blood glaze (produced by grinding garnets 
and rubies into powder) first established under 
Imperial patronage in the reign of Hsiian-Té at 
Chin Te Chen by two brothers named “Lang” 
(of which the English equivalent is Wolf), was con- 
tinued by their descendants through the reigns of 
Cheng-Té, Chéng-Hua, Chia-Ching, Lung-Ching, 
and Wan-Li of the Ming Dynasty and during the 
first few years of the reign of Kang-Si, when the 
family became extinct, and with them died the 
secret of the glaze. Height, 15 inches. 
Period of Chéng-Hua, A. D. 1465. 


An extremely fine specimen of dragon’s blood glaze 
from the factory of the Lang Brothers during the 
reign of Chéng-Hua. One of the finest specimens of 
their marvelous ruby glaze. Height, 17 inches. 


Period of Chéng-Hua, A. D. 1465. 
147 


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tee, SE 


STN Fete an cee 


542 BOTTLE. ae 
Another specimen of dragon’s blood glaze from the __ 
“Lang Yao,” which, if possible, in brilliancy of color, 
surpasses either of the two specimens immediately 
preceding it. Height, 15 inches. 
Period of Chéng-Hua, A. D. 1465. 


543 PENCIL STAND. 
Cylindrical in form, intended to represent a section _ 
of bamboo, covered with brilliant clouded yellow — 
glaze. Carefully wrought under the glaze is the 
figure of a wise man of old, accompanied by a servant. 
The servant is represented as carrying an incense 
burner and following in the footsteps of his master, 
who bears in one hand a scepter, while with the 
other he points upward to the sun, which appears, — 
also in low relief, above and beyond him. The speci- 
men forms one piece of a set such as is used by 
scholars, and the decoration just described is intended | 
to suggest the importance of, and benefits derived 


from, the cultivation of literature. Height, 434 inches. 
Period of Chien-Lung, A. D. 1723. 


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544 JAR. 


Upon a body of pottery it has representations of the 
head of the Dog Foo as bosses rather than handles, 
and is covered with a thick and exceedingly brilliant 
glaze. The predominant colors consist of varying 
shades of brown with masses of mingled blue and 
white apparently laid upon the ground color, though 
in fact, this is an effect produced by the heat while 
the piece was in the kiln. Height, 6% inches. 

Later Ming Period (16th Century). 


148 


THE KANG-SI PERIOD 


BLACK HAWTHORN CHINESE PORCELAIN VASE OF 


546 


No. 


545 JAR. <7 

Has conventional representations of the Dog Foo for — ag 

ears or handles. Covered by a smooth yet brilliant — 

glaze of exceptional» purity from which the kiln 

developed a brilliant and rich red, overflowed by 

SV ak streams of blue in varying shades. A _ striking 
specimen. Height, 9 inches. 

Period of Kang-Si, A. D. 1661. — 


546 BLACK HAWTHORN VASE. 

A “San Tsai Te” or three-color porcelain of the 
famous Black Hawthorn variety covered by an oily 
black glaze, though in some parts the glaze is brilliant 
rather than oily; decorated upon the glaze with haw- 
thorn trees and blossoms, extending from base to 
$a <6 lip, to which is added, about the base, rocks and 
bamboo trees in green. This class of antique Chinese 
porcelain is so renowned that no detailed description 
is needed. In gracefulness of design and decoration — 
and distinctness of color, this specimen is easily = 

among the best of its class. (The lip has been _ 
repaired.) Height, 28 inches; diameter, 10 inches. — 
Kang-Si Period, A. D. 1661. 

(See Illustration) 

547 VASE. 
Has long slender neck and is covered with a brilliant 
lavender glaze. Two lizards in high relief decorate 

ye #3 the neck. These figures are carefully wrought. 
Height, 9M inches. 
Period of Yung-Chéng, A. D. 1723. 

548 JAR. 

A rectangular jar covered with a fine and brilliant 
glaze of what is known as iron rust and ornamented 
: with heads of the Dog Foo in medium relief as. ~ 
/ S hbal handles. An unusually good specimen of this rare 
: type of glaze. Height, 9 inches. 
Period of Chien-Lung, A. D. 1736. 


150 


549 JAR. 


A massive specimen of pottery, covered by heavy 
glaze, having the general color effect of the bronzes 
of the Yuan Dynasty, 1127-1279, mingled with 
flakes of blue. The combination has produced a 
rare color effect. Height, 8% inches. 

Period of Chéng-Hua, A. D. 1465. 


550 BOTTLE-SHAPED VASE. 


This specimen is decorated with a row of leaves 
around the base, is of the so-called French grey color 
with an even and brilliant glaze, and free from 
defect or flaw of any kind. Height, 11% inches. 

ae Period of Kang-Si, A. D. 1661. 


551 BOWL. 


fae 


A fine specimen of the early crackle of the Ming 
Dynasty. The glaze is upon pottery rather than 
porcelain and the extreme fineness of the crackle is 
rare for specimens of that early period. When pro- 
duced at all, the crackle is found to be much more 
coarse and less abundant; the brownish color is 
one of the indications found on this specimen of 
extreme old age. Extremely rare and correspondingly 
valuable. Diameter, 434 inches. 

Early Ming Period (15th Century). 


poe. VASE. 


Jp 9- 


This specimen is ornamented with the conventional 
Chinese scepter, used as handles and with various 
short ribs which serve to divide the neck, base and 
body. ‘This is a faultless specimen of pearl grey of 
the Chien-Lung period, whose six character seal mark 
may be found upon the bottom. The glaze upon the 
piece is unusually smooth and brilliant. 


Height, 13 inches. Period of Chien-Lung, A. D. 1736. 
151 


553 BOTTLE. 


This specimen is gourd shaped with floral decoration 
incised under the glaze, surrounding the lower part 
of what may be termed the body of the gourd. 
While this specimen bears no hall-mark and it is 
difficult, if not impossible, to determine the reign of | 
tYo- the Emperor to which it belongs, it is undoubtedly 
of the earlier Ming period. It probably belongs to — 
the reign of Yung-Lo, A. D. 1403, or Hsiian-Té, 
A. D. 1426. Height, 6 inches. Early Ming Period. 


554 SLENDER NECK BOTTLE. 


In this specimen the neck is undecorated except by 
two lines in low relief which encircle it, while the 
entire body is decorated with a conventionalized lotus 
design and about the base is a small representation 
of the waves of the sea. The glaze is heavy and 
brilliant and has that rimmed base so peculiar to 
specimens made during the reign of Kang-Si. 
Height, 10 inches. Period of Kang-Si, A. D. 1661. 


[yo- 


555 BEAKER-SHAPED VASE. 


Flower decoration covering almost:the entire exterior 

of the specimen in low relief under the glaze. As is 

not unusual even in specimens of Imperial porcelain, 

this piece, while bearing the six character mark of 

pie Chia-Ching—the Ming Dynasty, A. D. 1522, in 
reality was made by the Imperial Porcelain Works 

during the reign of the Emperor to which it is assigned. 

Height, 8% inches. 

Period of Yung-Chéng, A. D. 1723. 

152 


556 JAR. 

This specimen has a fine brilliant glaze of that peculiar 
ie transparency which is said among Chinese collectors 
| of porcelain to represent the water of the ocean. 
: The paste is of fine quality and the body of the vase 
is decorated under the glaze with masses of peaches 

combined with branches and leaves of the tree, also 
& with a neck band of Grecian pattern and leaves. 
Le The decoration of this specimen is artistic in the 
highest degree. As many specimens of Imperial 
porcelain and pottery during the earlier periods of 
the Ching Dynasty fail to bear the distinguishing 
mark of the Dynasty and Emperor, so this piece 
lacks them, but there can be no question of the age 
or the genuine character of this specimen. 
Height, 15 inches. Period of Kang-Si, A. D. 1661. 


557 BOTTLE. 

The body of the bottle is square in form with a cir- 
cular neck, having six small tubes forming a sort of 
collar or decoration. The Celadon glaze upon the 
surface has a distinctively yellow cast which is only 
/ £- found in pieces of great antiquity, which is due, not 
to any change in shade or color after the firing of the 
piece, but to the fact that the ingredients used in 
producing the color in the earlier periods of the arts 

were different from those in later use. 
Height, 9 inches. 
Ming Dynasty. Period of Cheng-Té, A. D. 1506. 


558 This jar is elaborately decorated with conventionalized 
floral designs in low relief and with bands under the 
glaze. The heavy glaze is of the exact Celadon shade 

a of color. It has the six character seal mark of the 
‘ s"- Emperor Chien-Lung upon the base in dark blue 
under the glaze. Height, 15 inches. 
Period of Chien-Lung, A. D. 1736. 
153 


559 JAR. 


Jar ornamented with two pairs of double lines, each 
ee in low relief and with conventionalized deer head 
handles. It is of fine quality paste with thick, 


bir characterizes the period to which the jar belongs. 
The fine quality of the paste may be seen by examina- 
tion of the unglazed base and bottom of the specimen. 
Height, 13% inches. Period of Kang-Si, A. D. 1661. 


560 VASE. 


Oval-shaped bottle having slender handles, with 
decoration of petals of flowers in very low relief upon 
. the shoulder of the bottle under the glaze. The 
Loo “ shade of color, while genuinely Celadon, closely 
approaches a pale blue. The softness and smoothness 
to the touch indicate a fine quality of paste. Critical 
examination also shows an exceptionally fine quality 
of glaze. Height, 6 inches. 
Period of Chien-Lung, A. D. 1736. 


561 VASE. 


Slender long-necked vase closely decorated with a 

floral pattern in low relief under the glaze, the main 

motive of the decoration being the stems, leaves, 

and buds of the Lotus, the true, sacred flower of the 

Chinese. The details are carefully wrought out and 

the flower drawn in all its native grace. The speci- 

oh - men belongs to one of the earlier periods of Celadon, 
| and by the style and quality of decoration, the soft- 
ness of the glaze and the thickness and weight of the 

paste can readily be recognized as belonging to the 

period and even to the reign of the Emperor whose 

name is found in dark blue characters under the 

glaze upon the bottom. Height, 9 inches. 

Period of Chéng-Hua. Ming Dynasty, A. D. 1465. 


154 


heavy glaze of uniform dark shade of Celadon which 


a: 


ea 
we i f 


>. 


=! 
7% 


i? 


it 


Ve 


562 


me 


BOTTLE. 


Gourd-shaped bottle of fine smooth paste with 
exceptionally brilliant yellow glaze. The bottle is 
divided into panels marked by depressions in the 
surface, but is without other form of decoration. 
The glaze is of unusual brilliancy and a paste of 
exceptional quality characterizes this bottle. 

Height, 9 inches. Period of Kang-Si, A. D. 1661. 


Sb — 


egal - 


4-u-— 


AS are 


SIXTH SESSION 
Paintings by European and American Artists 


JACOB KIERINGS 
1590-1640 


563 VIEW IN SCOTLAND: WOODLAND LANDSCAPE 
WITH FIGURES. 


Canvas. Height, 1114 inches; width, 16 inches. 


ANTOINE VOLLON 
1833-1900 


564 COAST SCENE WITH FISHING BOATS. 


Panel. Signed. Height, 934 inches; width, 16 inches. — 


J. HARPER 


565 LANDSCAPE WITH A CASTLE IN THE DISTANCE. 


Canvas. Signed and dated 1797. 
Height, 27 inches; width, 38 inches. 


RICHARD WILSON 
1713-1782 


566 LANDSCAPE. 
Although starting his career as an English portrait 
painter, Wilson’s landscape art was developed by a 
residence of some years in Italy. He received no 
recognition for it, however, during his life time, and 
died in poverty; only in modern times has he been 
regarded as one of England’s greatest landscape 
painters. Canvas. Height, 74% inches; width, 11 inches. 


156 


tun gee 
sf 


RICHARD BARRETT DAVIS 
1782-1854 


567 A THUNDER STORM. 
A flash of lightning strikes terror to a group of 
horses that huddle together at the base of a hill; 
great trees sway in the wind at the right and a castle 
is seen in the distance. This artist won the favor 
of King William IV and was appointed animal painter 
to the court and commissioned to paint the cavalcade 


of the coronation procession. Canvas. 
Height, 25 inches; width, 30 inches. 


JAN BRUEGHEL (CALLED VELVET BRUEGHEL) 
1568-1625 


568 LANDSCAPE WITH FIGURES. 
Panel. Signed. Height, 14 inches; width, 22% inches. 


LUDOLF BACKHUYSEN 
1631-1708 


569 A STORM AT SEA. 
This example of the celebrated Dutch painter of 
storms and sea pieces shows a frigate in a storm, with 
wild waters, and storm-torn sails, just the kind of 
subject in which he was at his best. Canvas, relined. 


/3o- Sauces ato TE 
Height, 24 inches; width, 36 inches. 


PAUWEL BRILL 
1554-1626 
570 MOUNTAIN LANDSCAPE WITH FIGURES. 


Panel. Signed and dated 1616. 
Height, 21 inches; width, 31 inches. 


ye 157 


THOMAS BARKER (CALLED BARKER OF BATH) 
1769-1847 


571 THE WATERING PLACE. 


In a shallow stream a white horse and a cow are seen 
drinking while the herdsman looks on near by. Trees 
rise at the right arching the stream, and a fallen ‘tree 
} WU- lies in the foreground. Canvas. See 
Height, 41 inches; width, 30 i 1 


PHILIP VAN MASCHEREN ie 
Dutch, 1632-1699 ve 
572, NAVAL SCENE: SHIPS FIRING A SALUTE. 


Canvas. Height, 14 inches; width, 38 pe 


M07: 


LOUIS LEOPOLD BOILLY 
1761-1845 


573 THE STREET BARRICADE, 


A crowd of men and women are engaged in aos 

a barricade in a Paris street during the French Revo- 

lution, scenes from which this artist loved to paint. 

At the left a leader standing on a barrel harangues 

Sd - the crowd and on the top of a diligence which ob- 
structs the way, two men are waving a flag. Canvas. 

Height, 30 inches; width, 42 inches. 


JACQUES COURTOIS (CALLED IL BORGOGNONE) 
1621-1676 


574 A BATTLE SCENE. 
Canvas, relined. Height, 29 inches; width, 38 inches. 


fI- 158 


No. 582. PEG WOFFINGTON 
By William Hogarth 


UI — 


Jo- 


3o- 


fo- 


‘SEBASTIAN FRANCKEN 
1573-1647 


575 A GARDEN FETE. 


In a formal garden of an old chateau a multitude of 
well-grouped figures, after the fashion of this Flemish 
master, are gathered for pleasure; buildings of medi- 
aeval design rise at the right and left. Panel. BS, 

Height, 12 inches; width, 18 inches. = A 


FRANCESCO GESSI 
Italian, 1588-1649 


576 CUPIDS IN COMBAT. ; 


Three children, nude, are struggling with three 
cupids, whose bows and quivers lie strewn about _ 
on the ground. 

An inscription on the back afore us that it was — 
purchased from an old chateau in France in 1896. _ cho 
Metal panel. Height, 21 inches; width, 28 inches. are 


JOHN QUIDOR 


1800-1881 
577 RIP VAN WINKLE REACHES THE GNOMES. 
Canvas. Height, 26 inches; width, 34 inches. 


From the Carroll Collection, 1895. 


THEODULE RIBOT iS ae 
1823-1891 


578 SAINT SEBASTIAN. 


At the right is seen the figure of the saint bound to a 

tree and pierced with arrows. In the distance two 
women approach. Panel. Signed. 

Height, 10 inches; wadth, 7% inches. 

160 $O% 


SB - 


Lide- 


P. P. A. ROBERT 
1686-1733 


THE CAVERN. 


In a cavern through which curves a roadway, two 
women mounted on horses are seen advancing toward 
a lake that lies in sunlight beyond. From the other 
side a shepherd comes with a flock of sheep; an old 
beggar sits with hat in hand and at the right some 
figures are gathered about a fire. Canvas. Signed. 

Height, 20 inches; width, 17 inches. 


DAVID RYCKAERT 
1612-1661 


A ROADSIDE TAVERN. 


This Flemish genre painter was a follower of Brouwer 
and Teniers and found his subjects in the interiors, 
fairs and merrymakings where peasants came 
together; with other painters of his time he left a 
record of the types and domestic scenes of his country. 
Panel. Height, 19 inches; width, 25 inches. 


ABRAHAM STORCK 
1650-1710 


ENTRANCE TO THE PORT OF ANTWERP. 


Canvas, relined. Height, 20 inches; width, 26 inches. 


WILLIAM HOGARTH 
1697-1764 


PORTRAIT OF PEG WOFFINGTON. 


Canvas. Height, 24 inches; width, 19 inches. 
Purchased from Mr. J. Ichenhauser, 1894. 
(See Illustration) 


161 


oN 


Ee 


S/o - 


ee 


CONSTANT TROYON 
1810-1865 


583 LANDSCAPE AND CATTLE. 


Canvas, relined. Signed. 
Height, 11 inches; width, 18% ‘inches. 


N. V. DIAZ 
1808-1876 
584 THE POOL IN THE FOREST. | : 
Panel. Signed. Height, 642 inches; width, 10 inches. 


ADOLPHE MONTICELLI _ ie vl 
1824-1886 


585 FIGURES IN A WOOD. = 
This work of the eccentric and fantastic French 
painter shows the usual richly colored costumed — 
figures that move mysteriously 1 in the deep shadows 
of a forest. There is the riotous phantasy of color 
that ever characterizes the work of this friend of 
Diaz. Canvas. Signed. 

Height, 13 inches; width, 16 inches. 


JULES DUPRE 
1812-1889 


586 OLD FARMHOUSE AT BARBIZON. : 
Seen from the garden the house lifts its steep roof 


against an evening sky; trees rise at the right. 
Canvas. Signed. Height, 1914 inches; width, 24 inches. 


GEORGES MICHEL 
1763-1843 
587 LANDSCAPE. 
Paper mounted on panel. 
Height, 14 inches; width, 19 inches. 


162 


rage 
“En he 


iets 


LANDSCAPE IN THE FOREST OF FONTAINEBLEAU 


No. 592. 


1aZ 


By N. V. D 


EUGENE DELACROIX 
1799-1863 


588 A STUDY FOR THE ENTOMBMENT OF CHRIST. 
In 1848 Delacroix painted his great picture oft “The 


Entombment,” following it with a number of -varia- 


one 


tions; but for every work he made numerous st 1 
and prodigious preparations in order to satisfy him- 
self. This subject was one which haunted his brain 
and to which he returned again and again with 1 new 

/ Ca: _ inspiration; now he presented the scene in a rocky 
cavern with only the fitful light of torches touching 
the tragic figures, again the action is taking place 
under an imposing portico, or with a landscape 
background. Always the story is told with dramatic 
force and intensity. Canvas. 


Height, 24 inches; wide ‘d c inches. 


CONSTANT TROYON 
1810-1865 vi aie Fi 
589 STUDY OF AN OLD TREE. a 
A study in the Forest of Fontainebleau. From the 


sale of the artist’s effects. Canvas. Stamped “Vente 
/ eg = Troyon.” Height, 18 inches; width, 10 inches. 


= 


EUGENE ISABEY 
1804-1886 


590 EFFECT OF AN EARTHQUAKE. 


An old church, solidly built as if to endure for ages, 
has been wrenched asunder by the power of an earth- 
quake and stands in ruin; its walls are out of plumb, 


its roof sunken. Canvas. 
Height, 17 inches; width, 25 inches. 


Bought at the sale of Isabey’s atelier, March 30, 1887. 
164 


Ve 


mou, 


a 


No. 598. 


MARGUERITE, DUCHESS OF CLEVELAND 
By Sir Antony Van Dyck 


> J el a a ee <= 


UNKNOWN PAINTER 
French School, XIXth Century 


591 A TRAVELING CIRCUS IN THE FOREST ay ST. 
GERMAIN. © 


Panel. Signed, but illegible. 
> ( \¢ ve Height, 18 inches; width, 22 inches. 


Bears the seal of the Society des Beaux Arts of Rheims, France. 


N. V. DIAZ 
1808-1876 


592 LANDSCAPE IN THE FOREST OF FONTAINE- 
| BLEAU. 


Gathered about a ee pool in the foreground are 
some cattle, watched over by a peasant woman, who 
sits on the right at the foot of a tree, attended by a 
dog. The great trees of the forest rise on either hand, 
arching above, with the blue sky with rolling white 
G107- clouds between. Panel. Signed. 
Height, 7% inches; width, 10% inches. 


Reproduced in “Renaissance and Modern Art,” by Wm. H. 
Goodyear, M. A. Published in 1894. 


(See Illustration) 


FRANCOIS BOUCHER 
1703-1770 


593 NYMPHS BATHING. 


Three semi-nude women recline on their blue and 

crimson draperies under the low-hanging branches 

of a tree which bends over the water. On the farther 

shore of the pool rise a group of poplars and a mass 

/ G 6<- of foliage against the blue sky, forming altogether a 
decorative composition of much charm. Canvas, oval. 

Height, 19 inches; width, 23 inches. 

Purchased in 1891. 


166 


LL Ms 


aAneyT uoquy Ag 
ONIHONO Td ‘109 


ON 


THEODORE ROUSSEAU 
1812-1867 


594 COTTAGE AT BARBIZON. 


A path in the foreground leas across a scrub pasture 

to a cottage shaded by noble oaks, where a peasant 

woman is seen; the blue sky flecked with clouds i is 

touched with sunset light. The forest of ‘Fontaine- 

bleau, where Rousseau spent many years of his’ 

4 §V- supplied him with endless subjects, and it is s difficult 
to realize now that the work of this great “master 

was excluded from the Salon for thirteen years be- 

cause of his naturalism. Panel. Signed. 

Height, 8% inches; width, 1 094 in inches. 


WILLIAM ETTY 
1787-1849 


595 A NUDE FEMALE FIGURE. * 

Seen from the back against a red curtain, a woman 

stands on one leg, the other bent, her knee rests on a 

chest; the left arm is raised above her head. 

f" a oe Canvas, relined. Height, 24 inches; width, 19 inches. 


CHARLES FRANCOIS DAUBIGNY 
1817-1878 


596 LANDSCAPE. ; 
Panel. Signed. Height, 10 inches; width, 16 inches, 


“7p Oe— GUSTAVE COURBET 
1819-1878 


597 LA GEANT DES MONTAGNES DU DOUBS. 


In the foreground cattle graze watched over by a 
herdsman and his dog, seen at the side engaged in 
conversation with a woman. At the back rises a row 
of buildings embowered in trees. Canvas. Signed. 


Height, 26 inches; width, 35 inches. 
L3 es “A notable Courbet”—James G. Huneker in the N. Y. Sun. 
168 


No. 602. 


LOVERS IN THE HARVEST FIELD 
By Jean Francois Millet 


UL 
ce 
I 
4 
! 


SIR ANTONY VAN DYCK 
1599-1641 


598 MARGUERITE, DUCHESS OF CLEVELAND. 


The young woman is seen at bust length, her body in 
profile, her head turned toward the spectator; her 
hair falls in curls about her shoulders and she + ‘wears 
a single strand of large pearls about her. neck, v with 
double pendants in her ears. Her silk gown falls low 
‘ on her neck and is ornamented with a jeweled chain 
3 eas which is held at the shoulder by a cluster cross. The 
lady was a favorite of the Court of Charles II. . The 
carved wood frame shows floral Marguerites i in the 
four corners. Panel. 
Height, 15 inches; width, 12 inches. 


From the Collection of S. Moreau-Chaslon, and previously in 
ae celebrated Collection of his father, a well: knoe Collector of 
rance. Fd 


Purchased in 1888. 
(See Illustration) 


JULES DUPRE ; : 
1811-1889 
599 LANDSCAPE. 


Panel. Signed. 
Height, 10% inches; width, 13% inches. 


Yu 6 
GEORGE MORLAND 
1763-1804 
600 THE COTTAGE DOOR. 
Canvas. Signed and dated 1780. 
Height, 14 inches; width, 18 inches. 
Engraved and engraving shown herewith. ‘ 
Z ar) Be Purchased from Mr. J. Ichenhauser in 1894. 


170 


No. 605. THE SIESTA 


Honoré Daumier 


Anon MAUVE 
1838-1888 
601 PLOUGHING. ; 


Canvas, mounted on panel. ec ‘Atelier 
Mauve.” Height, 15 inches; width, 24 inches. 


Purchased from Thomas Richardson & Co. after exhibition st57 5 
Nae <i the Goupil Galleries, London, 1893. Richardson SNES its ‘ 
from Mauve’s Studio. : 


(See ikecauen 


JEAN FRANCOIS MILLET 
3 1814-1875 
602 LOVERS IN THE HARVEST FIELD. 


Canvas, relined. Signed with initials. Rea. 
Height, 16 inches; width, 12 inches. 1B. 


Purchased in 1879 in Paris. 


(See Illustration) 


UVe- 


N. V. DIAZ 
1808-1876 
603 LANDSCAPE WITH FIGURE. | 
Panel. Signed. Height, 8% inches; width, 11 Kin inches. ie | 


vt - 
CONSTANT TROYON 
1810-1865 


604 CATTLE AT THE WATERING PLACE. 
Canvas, relined. Height, 251% inches; width 17 inches. 
~ 172 ‘ 


J bo- 


HONORE DAUMIER 
1808-1879 


605 THE SIESTA. 


The seated figure who is enjoying a brief rest in a 
bakeshop is one of those wanderers whom Daumier 
understood so well and was never weary of por- 
. traying. He felt the melancholy of their pitiable 
te existence. 
an Daumier the painter is not so well known as Daumier 
the caricaturist or lithographer, yet he is to be classed 
among the great painters of France. He does not 
pb Yra- use an extensive palette, but is content with few 
. tints of gray, brown, green or black, and only in 
recent times has his powerful rendering, his exact 
observation and his fine characterization come to be 
appreciated. Panel. 

Height, 16 inches; width, 14 inches. 


Purchased in 1892. 


(See Illustration) 


CORNELIS HUYSMANS 
1648-1727 


606 LANDSCAPE IN FLANDERS. 


This is a representative work of the distinguished 
Flemish landscape painter who won such renown in 
his day that he was urgently invited to the French 
court of Louis XIVth as assistant of Van der Meulen 
/ Afr the court painter, whom the French King kept busy 
painting his battles; the honor was refused, however, 
Huysmans preferring the simpler life at Mechlin. 
Canvas. Height, 24 inches; width, 29 inches. 


UNKNOWN PAINTER 
English School, XVIIIth Century 


607 A YOUNG WOMAN IN WHITE. 
Canvas. Height, 17 inches; width, 14 inches. 


as. 173 


608 
fo 
609 
/tt- 
610 
i, 
611 


Ltr o 


UNKNOWN AMERICAN PAINTER 

Early XIXth Century 

PORTRAIT OF A GENTLEMAN. 
Wearing a black coat, the sitter is seen at half con 
and three-quarters view, looking towards the spec- 
tator. His brown hair falls about his brows and his 
serious mien is that of an important personage in 

our National development. Canvas. 

Height, 30 inches; width, 25 inches. 


NICOLAAS BERCHEM 


1620-1683 
LANDSCAPE WITH FIGURES. 
Panel. Height, 25% inches; width, 19 inches. 


GILBERT STUART 
1755-1828 
MR. FAIRFAX OF VIRGINIA. =e 
Canvas, relined. Height, 20 inches; width, 16 inches. 


From the Collection of Harry Edwards, the well-known actor. 


JAN FRANS VAN BLOEMEN (CALLED ORIZONTI) 
1656-1740 
CLASSIC LANDSCAPE. 
Mountain and valley, with a river winding through 
the hills to the distant sea, form the landscape com- 
position, to which is added the ruined portico, 
crowned with wind-sown foliage; below wanders a 
flock of goats watched over by a herdsman, with 
other figures boating on the river. - 
Though a native of Antwerp, Van Bloemen went to 
Rome where he painted his Italian landscapes in the 
manner of Claude. He received his name of Orizonti 
from the skill with which he rendered the delicate 
gradations of distance toward the horizon. Canvas. 
Height, 28 inches; width, 39 inches. - 


174 


612 


613 


- 


614 


ARTHUR B. DAVIES 
Contemporary American Painter 


THE PLACE OF THE MOTHERS. 


Canvas. Height, 20 inches; width, 24 inches. 


Awarded a medal at the Pan American Exposition, Buffalo, 1901. 


Purchased from the Artist. 


FRANCISCO DE ZURBARAN (ATTRIBUTED) 
1598-1662 


IN THE SACRISTY. 


Loving austere religious themes, this painter of monks 
here shows us a procession of black-robed friars hold- 
ing candles, about to leave the sacristy for the church; 
at their head is a bishop in his churchly robes with 
two attendants. Canvas. 

Height, 20 inches; width, 33 inches. 


Purchased from Mr. J. Ichenhauser, 1894. 


HENRY INMAN 
1801-1846 


PICNIC IN THE CATSKILL FOREST. 


This is an important example of the well known 
portrait and landscape painter, who achieved a 
distinguished place among the artists of his time, 
and who, at the time of his death, was engaged on a 
series of historical pictures for the Capitol at Wash- 
ington. Canvas, relined. Signed. 


Height, 48 inches; width, 34 inches. 


FRANCOIS LE MOYNE (ATTRIBUTED) 


1688-1737 
615 MUSIC AND POETRY. 
Canvas. Height, 30 inches; width, 46 inches. 
175 


qx 


CLAUDE GELEE (CALLED LORRAIN) ae 
1600-1682 = ane 


616 THE RED MILL. © ae 


A wide-stretching classic landscape 1 is seen with figures 
dancing to the music of the pipes played” ae their 


ae companions. Canvas, relined. hee, 
LW | Height, 37 inches; width, va oes. 


From the Collection of Alexander Dennistoun, Golf Hill, Tapend ; 


Brought to this country by William Wood in 1835. ‘Purchased 
by the present owner in 1890. SS; = ee 


JEAN LEON ANDRE GERICAULT > : 
1791-1824 


617 PORTRAIT OF THE ARTIST’S MOTHER. , 
Canvas, relined. Height, 23 inches; width, 19 inches. 


ARTHUR B. DAVIES eae 
Contemporary American Painter ay 


618 THE CHILDREN OF YESTERYEAR. 


Down a flowery valley passes a long procession of 
children toward the river that flows past the high 
cliff beyond; at the right sits a mother with an infant 
in her lap while the little god of love stands at her 
side. A flowery bank rises at her back, and away at 
/ O¢0- the left some houses are seen on the uplands. Canvas. 
Signed. Height, 25 inches; width, 20 inches. 


Purchased from the Artist. 


ALEXANDRE GABRIEL DECAMPS 
1803-1860 


619 THE GOOD SAMARITAN. m 
In a rocky cove near the sea some horsemen have ~ 
stopped to aid a wayside sufferer. Two horses stand 
at the right waiting for their riders who bend over 


176 


Lt - 


No. 624. COUNT BEVILACQUA 
By Paolo Veronese 


Joo 


Lyoa- 


the victim at a short distance. In the distance a 


stretches a lurid sunset sky. Canvas, relined. Signed 
with initials. Height, 18 inches; width, 25 inches. 


Sold in the Beriah Wall Collection, 1886. 


Sold in the Elmer Capen Collection, 1889, when it was acquired a 
by Mr. Chapman. 


“Decamps’ ‘The Good Samaritan,’ will convey a new idea of — 
this singularly lovable painter. The composition is powerful and — 
organic, the sweeping brush work is ‘like a gale of wind’ (as a critic 
once remarked of the Rubens room at the Louvre) and the color 
fairly sings. It is a sumptuous work.”—S. Swift in the Evening — 
Mail, March 27, 1906. 


“Of similar interest is the impressive landscape in which De- 
camps sets ‘The Good Samaritan’ and ‘The Levite.’ The forms of 
the cliffs are rendered with brusque realism and the heated sands 
are shadowed by an ominous light—in all a high effort of the 
imarinadion it J. Mather, Jr., in the Evening Post, Jan. 24, 
1906. 


“An out-of-the-way Decamps, golden in tone, fascinating in 
construction with figures representing ‘The Good Samaritan’ 
and his charge, is a treasure trove.”—James Huneker, in the 


New York Sun. 


CORNELIS HUYSMANS 
1648-1727 


620 LANDSCAPE. 


Canvas. Hetght, 24 inches; width, 29 inches. 


GEORGE MORLAND 
1763-1804 


621 A GIPSEY ENCAMPMENT. 


Morland often made repetitions of his subjects with 
slight variations; a repetition of this picture is, or 
was until recently, in the Collection of Sir Walter 
Gilbey. Canvas. Signed with initials. 
Height, 24 inches; width, 29 inches. 


178 


castle is seen perched on the rocks and above 


GEORGE ROMNEY 


1734-1802 
622 PORTRAIT OF A LADY. 
F a Canvas. Height, 30 inches; width, 25 inches. 


REMBRANDT VAN RYN (ATTRIBUTED) 
1607-1669 
623 THE ADORATION OF THE MAGI. 
Gorgeously arrayed, the bearded Wise Men of the 
East with their attendants are seen descending 
4 ‘several steps to the enclosure where the young 
lL g0- Mother, clad in blue sits holding the Holy Child, 
haloed in light. St. Joseph in a red robe bows low 
in receiving them, while through the arches of the 
-architectural structure rising overhead, other figures 
are seen against the deep blue background of the 
night. Canvas. Dated 1664. 
Height, 24% inches; width, 19 inches. 


This picture was bought in an old castle near Brunswick, Ger- 
many, which formerly belonged to the Guelphs, the present Royal 
family of England. 

Mr. Chapman purchased it in 1895 from the gentleman who 
brought it from Germany. 


“Much the most marvellous of the Chapman old masters, is an 
‘Adoration of the Magi,’ by Rembrandt. It appears to have been 
a study for a large picture, probably an altar piece for a chapel, 
but it is a finished work in itself. The size is about 12 x 18 inches— 
I am inclined to think it is somewhat larger. The composition is of 
commanding largeness and simple strength, and the execution is 
of the Artist’s later period, when he had full command of his 
technique and the consequent freedom and boldness of touch. In 
color it is like a huge casket of gems, glowing, scintillant, breaking 
into flashes of flaming brilliancy, and smouldering, under all, with 
the splendor of imprisoned fire. It should be in some museum.”— 
The Collector, Sept. 1, 1895. 


PAOLO VERONESE 
1528-1588 


624 PORTRAIT OF COUNT BONIFAZIO BEVILACQUA. 


| In a suit of armor elaborately trimmed with gold 
/ 6 0- the young Italian nobleman stands leaning against 


179 


a table on which rests his plumed helmet. He is 
seen at half length and looks directly at the spectator. 
He fought against the Turks in the service of the 
King of Hungary and also in the service of the Vene- 
tian Republic in the battle of Lepanto in 1571. 

_ Canvas. Height, 46 inches; width, 35 inches. 
From the Collection of Henry Doetsch, Esq., sold at Christie’s 

in 1895; the catalogue of this Collection was compiled a Dr. 


J. P. Richter. 
(See Illustration) 


CLAUDE JOSEPH VERNET 
1712-1789 


625 A STORM ON THE COAST. 


In a bay, walled in by towering rocks, some men are 
seen drawing a boat up on the shore, while beyond, 
another boat, caught by the gale, is in peril of the 
rocks; on the right in the distance rises a lighthouse 
perched on a cliff. Going to Rome as a youth of 
/ 6o7 twenty, Vernet remained there for a score of years, 
and although he was a pupil of Panini, he did not 
follow his master’s architectural style but became 
the first marine painter of Europe. Canvas. 
Height, 38 inches; width, 56 inches. 


SEBASTIANO LUCIANI 
(CALLED SEBASTIANO DEL PIOMBO) 
1485-1547 


626 MADONNA AND CHILD. 


Holding the nude Child in her lap, the Mother with 
an expression of tenderness bends her head forward 
as she nourishes Him at her breast; a scarf falls 


G a - from the back of her head encircling her neck. The 
180 


No. 626. MADONNA AND CHILD 
By Sebastiano del Piombo 


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entire picture is in a scheme of brown monotone and — 
is marked by a strong plastic treatment. Canvas, 
relined. Height, 31 inches; width, 24 as Bakene eS 


- Formerly in the Joseph Bonaparte Collection. 
Purchased by the late owner about thirty years : 


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With kind remembrances, I remain, 
Very truly yours, 


St: : 
Bernhard Berenson. 4x 


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“ Almost monochromatic, but revealing a a gamut of subtle 
tonalities ranging from grayish brown to a dark pérplish tinge, is aa 
a ‘Madonna and Child’ by Sebastiano del Piombo. In its quiet ~ 
power, its Leonardo-like’ mystery and strength, there is the true 
essence of genius. Here is a veritable Old Master, before whose 
shrine the art lover of today may well offer i incense.” —Samuel 

Swift in the Evening Mail and Express. soe 


“A genuine Sebastiano del Piombo, a ‘Mother and Child’ of 
extraordinary power and majesty. The picture was at one time 
in the possession of the Bordentown branch of the Bonaparte 
family.”—Roger Riordan in the Lotos. 


“We miss the genuine portrait in the Metropolitan Museum and 
also a ‘Madonna and Child’ in possession of Mr. Chapman in this 
city, a painting recalling our artist’s latest manner and attributed 

_ to him by critics of repute.”—Mr. Frank J. Mather in a review of 
a book on Sebastiano del Piombo by Pietro d’Archiardi in the 
Evening Post. 

(See Illustration) 


182 


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627 


J. B. C. COROT 
1796-1875 


THE GIANT WILLOWS. 


A mass of great willows, rising at the right, spread 
their branches shading a small pool at whose brink 
two women pause; from the farther shore rises a 
slight hill tufted with scrub trees and in the distance 
a village is seen; there is a clump of feathery trees 


-at the left and beyond stretches the blue sky with 


low-rolling white clouds, which become a primrose 
yellow at the horizon where seen between - tree 
trunks. Canvas, relined. Signed. 

Height, 35 inches; width, 58 inehes 


Exhibited at the Democratic Club in 1903. 
Exhibited at the Lewis and Clark Exposition, 1905. 
Exhibited at the Alaska-Yukon Exposition in 1909. 


“An important landscape by Corot, ‘The Giant Willows,’ in 
breadth and beauty of conception and tenderness of feeling is of the 
first rank. It shows a sky full of pulsating, vibrant light, with a 
clump of trees as principal theme of the foreground and a vista 
of the kind Corot loved to paint.”—Samuel Swift in the Mail 
and Express. 

“There is a large Corot painted in what is commonly called the 
middle period of his career, when his greens were fresher than 
they afterwards became. A ‘Giant Willow’ decoratively filling 
a generous portion of the canvas, is thrown into relief by a delicate 
light sky, while the foreground is relieved by a gleaming pool and » 
shadowy figures.”’—Ben Foster in the Evening Post. 


“Corot’s familiar art is represented by a number of fine examples, 
notably his beautiful ‘ Just Before Sunrise.’ His grave and impres- 
sive ‘Giant Willows,’ in a more sombre and dramatic note, is also 
here.”—E. C. Peixotto in Scribner’s Magazine, Sept., 1909 


(See Illustration) 


SIR JOSHUA REYNOLDS 
1723-1793 


628 THE NYMPH AND PIPING BOY. 


A young woman nude, her head wreathed with roses, 
is seen reclining in sweet indolence, charmed by the 
Arcadian music from the pipe which a young boy 
fingers, held to his lips. The boy, seated against a 
tree, is clothed in a crimson jacket, while the crimson 


184 


No. 628. THE NYMPH AND PIPING BOY 
By Sir Joshua Reynolds 


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fo a- 


ee . J. M. W. TURNER 


drapery festooned above them reveals an idylic 
landscape reaching away to the horizon. Canvas. — 
Height, 51 inches; width, 41 inches. i 


Purchased 5) Mr. T J. Blakeslee in 1897. 


This painting is the same subject as one sold in the Sir Chie 
Quilter Collection in London in 1908. A letter dated 1898, from 
Sir Cuthbert, which is published 1 in Graves and Cronin’s “History ofr 
the Works of Reynolds,” says: “There are several picture 16 
same subject.” ees 
: (See Illustration) 


1775-1851 
629 QUEEN MAB’S GROTTO. 


In a fantastic bay of rocks arching the sea ae 
crowned with diminutive temples built of moonbeams, — 


sport numerous water nymphs, under a golden sky. : 


This fantastic grotto, where dwells Queen Mab. 
the fairies’ midwife, is only a colorful dream of | 
and fancy not to be measured by the cold light of © 
reason. Turner was fond of these “children of an_ ; 
idle brain, begot of nothing but vain fantasy,” which 
include some of his greatest pictures. ~ Canvas, 


relined. Height, 29 inches; width, 38 inches. 


From the Collection of Mr. Wallace, sold at Christie’s, 1898, and 
purchased for the present owner at that sale by Mr. J. Ichenhauser. 


GEORGES MICHEL aes 
: 1763-1843 Shay 
630 LANDSCAPE. Mise ts 
This important example of the Father of modern 
French landscape art, shows a wide stretch of country 
seen from an eminence, with a silvery stream winding 
through the plain. At the left rises a mass of trees 
and above, the sky is filled with rolling clouds. Can- 
vas. Height, 34 inches; width, 42 inches. 
(See Illustration) 
186 


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CARLETON WIGGINS 
Contemporary American Painter 


631 IN THE GLOAMING. << 


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Canvas. Signed. Height, 36 ge one 50 inches 


Purchased from the Artist. e 2g Res 


SIR THOMAS LAWRENCE 


1769- 1830 
632 PORTRAIT OF GEORGE III. ees 
Canvas. Height, 30 inches; width, 25 Pier 


From the Collection of S. Moreau-Chaslon, and. previously in 


the celebrated Collection of his father, a well-known ‘Connoisseur 
of France. ey rie 


- Purchased in 1888. oe Ne 


GEORGE MORLAND 
1763-1804 
633 THE LIGHTHOUSE. tee 
At the right with a view of the sea, stands a pablic 
house or waterside tavern, whose sign above the door 
carries the name of the keeper, a man by the name of 
Light; for him the picture was painted and he is 
seen standing in the doorway. The son of this first 
“owner brought the picture to this country in 1820; 
in 1840 it was inherited by a grandson and in 1870 
it passed into the possession of Mr. Cleaver, keeper 
of Cleaver Chop House, Brooklyn, upon whose death 
it was acquired by the late owner. 
Mr. Chapman first became acquainted with 1 iti in 1365. 
Canvas, relined. Signed. 
Height, 30 inches; width, 37 Paes: 


~ Par 


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JACOB GERRITSZ CUYP 
1594-1651 


634 PORTRAITS OF TWO CHILDREN. 
Two Dutch children are seen wearing caps and lace- 
trimmed collars over their quaint dresses; about 


188 


A CLASSICAL LANDSCAPE 


No. 638. 


By Salvator Rosa 


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beads, hang medallions with inscriptions showing 
them to be the children of a prince. A landscape - 
forms the background. Panel. : 
Height, 29 inches; width, 34 inches. 


ELIMAR ULRICH BRUNO PIGLHEIM 
1848-1898 


635 MADONNA AND CHILD. 


The Mother, seated, holds the nude Child on ee 
knee, His head resting against her shoulder; her head, 
bound in a white scarf, is haloed round with gold 
and the entire figure is seen against a mysterious 
background that suggests the night. Beginning his 
career as a sculptor, Piglheim only took up painting 


after a visit to Italy, but he achieved such success — 


in the new field that he is only known now as a 
painter. Canvas. Signed at Munich. 
Height, 42 inches; width, 32 oe 
Purchased from Knoedler & Co., 1890. 


GASPARD DUGHET (CALLED GASPARD POUSSIN) 


1613-1675 


636 LANDSCAPE WITH FIGURES. 


In a landscape, bounded by blue hills, rises a rocky 
mass crowned by a castle, with a cascade falling 
beneath; at the left stands a great urn shaded by 
great trees, with half nude figures in wind-blown 
draperies. 

The artist was a brother-in-law of Nicholas Poussin 
whose name he adopted, and renowned as a very 
rapid worker, often producing a large picture in a day. 
Canvas. Height, 39 inches; width, 53 inches. 

From the Collection of Edward Leavitt, 1884. 


190 


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BENJAMIN ROBERT HAYDON 
1786-1846 


637 THE TRIUMPH OF URIEL OVER SATAN. 


Uriel, one of the seven archangels, and spoken of as 

the good angel in sacred writings, is shown as a winged 

figure with flowing hair, crowned with the cross, 

who tramples under foot the writhing Satan; in the 
D- right hand is a flaming sword and in the left a shield. 
In Milton’s “Paradise Lost” Uriel is represented 

as the angel of light whose station is in the sun. 

Canvas. Height, 50 inches; width, 30 inches. 


SALVATOR ROSA 
1615-1673 


638 A CLASSICAL LANDSCAPE. 


Through huge rocks a cascade comes tumbling down 

to the foreground, where some peasants are resting 

at the base of a ruined column; giant trees lift their 

branches high above, shading the rocks and pool; 

beyond stretches a mountainous country; on the 

top of one of the cliffs a shepherd and some goats 

Vis- are seen enjoying the prospect. In his youth Rosa 
made a sketching tour through the Abruzzi, long the 
wild resort of banditti, and from this experience 

gained knowledge of the scenes and people which he 

later employed in many of his pictures. Canvas. 

Height, 64 inches; width, 46 inches. 


From the Richardson Collection, 1890. 


(See Illustration) 


American Bank Note Co., N. Y. 


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